AFTER ABBEY ROAD - Part 2

Gary Fearon            @Gary_Fearon_

Part 2 continued from June 16

There were some stories I was already familiar with, like how Paul McCartney was robbed at knifepoint while in Nigeria to record Band on the Run. Or how George Harrison was sued because “My Sweet Lord” bears more than a passing resemblance to The Chiffons’ “He’s So Fine”. But what was the inspiration behind “Imagine”, “It Don’t Come Easy”, “Silly Love Songs”, and the rest of the 220 singles they have released as solo artists?

Knowing other fans would be as interested in learning these stories as I was, I set about to research the most interesting and insightful details behind each song. At the same time, I was also mindful of the historical significance of these works, so I made sure to include events that happened alongside the writing, such as 9/11 or the death of one of their close friends. My research and writing spanned over six months while I scoured books, Internet sites, newspaper articles, interviews, anything I could get my hands on. Sometimes my biggest challenge was what to leave out. Throughout the process, my Beatlemaniac brother was a huge help, proofreading and making excellent suggestions for clarity.

In the end, instead of the single “year of wonder” I had first envisioned, After Abbey Road covers the entire fifty years of their solo singles in chronological order. Like Clemency Burton-Hill’s book, the songs themselves can be found on YouTube and other streaming sites. As readers go through After Abbey Road, it’s eye-opening to listen to each song and gain a greater appreciation for the individual genius that contributed to the most acclaimed band of all time.

The 50th anniversary of The Beatles’ last album was May 2020, so I timed the release accordingly. The paperback and eBook of After Abbey Road are available on Amazon, and I have to admit I get a little thrill each time I see a sale coming from Great Britain. I may never get to Liverpool, but maybe my book will!

As we speak, I’m working on the audio version. That will keep me busy for the next few weeks, and I still have other books in me that I can’t wait to get back to. But when I do finish with the audiobook and have a little time to relax and read again, I plan to check out Clemency’s book that gave me the initial spark. It’s the least I can do. 

Musician and songwriter Gary Fearon has written over 300 songs, advertising jingles and morning show parodies. He is also a veteran DJ and producer. As a Beatleologist and avid analyst of entertainment, Gary has produced radio specials on the Beatles, John Lennon, and numerous other recording artists.

A former Billboard Air Personality of the Year, his broadcast work has been recognized by the Associated Press, Radio and Production magazine, and over two dozen MARS awards for commercial production. His voice is heard daily on radio and TV stations across the USA and Canada as well as on audio books such as Eddie: The Life and Times of America's Preeminent Bad Boy.

http://www.garyfearon.com/

AFTER ABBEY ROAD - Part 1

Gary Fearon          @Gary_Fearon_

As I always do when visiting my local bookstore, I found myself browsing the music section. On this particular occasion I came across a book by radio host and violinist Clemency Burton-Hill called Year of Wonder. It’s a book for classical music fans but it’s also for anyone seeking an introduction to the music of the masters. Its 366 entries present one famous classical work for each day of the year and shares background information about it.

What little I know about classical music could fill an orchestra pit, but the premise of Year of Wonder struck me as brilliant, if not classic in its own right. To take a giant genre like classical music and break it down into bite-sized pieces made it much more accessible and appealing. I immediately wondered if anyone had ever written a book using this premise that focused on the music masters of my generation, The Beatles.

Getting in the Zone

By Gary Fearon

This weekend, the Mega Millions jackpot got up to 192 million dollars. As of this writing, no winner has been announced, but whenever the lottery rises to such an astronomical figure, this question gets passed around:

"What would you do if you won the lottery?"

I find it encouraging that whenever writers are asked that question, some of the first words out of their mouths are along the lines of, "I would write!" The luxury of having all the time in the world to indulge in their passion is every true writer's desire.

Certainly, paying off bills and traveling the globe get mentioned too, but the allure of writing to one's heart's content is the part of that fantasy that evokes the most enthusiasm. The windfall itself is merely a means to an end of getting to live the writer's life.

There's nothing surprising about the appeal of doing what we love. But we have all experienced that special joy known as being "in the zone". Everything is clicking, we're firing on all cylinders, and we lose ourselves in our creative expression to the point where we're skipping meals and wondering how it got to be three in the morning.

Some call this equivalent of the runner's high "the flow state", because inspiration flows effortlessly. How fitting that inspiration literally means to be filled with spirit.

This heightened level of performance can be practiced and mastered using several techniques, including these three time-tested methods:

Be present

Fully engage in what you're doing, moment by moment. Thoughts and anticipation about the final outcome, while fine motivations, are in the future. What you have control over is right now. Connect with the joy that is the journey.

Add a new element

A task that has become too familiar and routine invites boredom. By the same token, we are easily overwhelmed by too many new things at once. Approach each writing session by adding one small challenge that will stimulate growth.

Eliminate negativity

Negativity is the enemy of creativity, says David Lynch. Remove negative suggestions and influences, especially the worst crippler of all, self-doubt. Each creative session is a time for you to experiment free from fear and criticism.

Miles Davis had the right attitude, a mindset that helped him conjure the zone on cue. "I'm always thinking about creating. My future starts when I wake up every morning ... Every day I find something creative to do with my life."

The odds of winning the Mega Millions are an unlikely 1 in 302,575.350. But the thrill of being in the zone can feel like winning the lottery. I hope you hit the jackpot every time you sit down to write.

8 Things Writers Can Learn from Mary Poppins

By Gary Fearon

Richard M. Sherman and his brother Robert B. Sherman may not be household names, but the story songs they wrote are beloved worldwide via Walt Disney films and parks, including what they considered their crowning glory, Mary Poppins. Along with their Oscar-winning score, the Shermans were key players in developing the story structure.

Last Tuesday, June 12th, was Richard M. Sherman's 90th birthday. In his honor, here are eight things all writers can learn from the prolific songwriting team Walt himself affectionately referred to as "the boys".

COMBINE USEABLE IDEAS

There are eight books in the Mary Poppins series. Scenes and concepts from different books were brought together to create a storyline for the classic 1964 screenplay. Are there any ideas you've  put aside that could find a new home in your latest work?

FIND THE REAL STORY

The magical English nanny had many colorful adventures, but Richard & Robert determined that these episodes had no character arcs and weren't enough to carry a story. They convinced Disney that Mary's employers should be distracted parents who rediscover the joy of childhood along with their children. Once a moral was chosen, the adventures took on a common purpose.

COME UP WITH A NEW TWIST

For Mary's signature song, the Shermans wanted to give her a clever proverb, like "An apple a day..." or "A stitch in time..."  The end result ("A spoonful of sugar helps the medicine go down") was inspired by Robert's young son, whose school had administered a polio vaccine placed on sugar cubes for easier consumption. You never know what phrase you write could become an instant classic.

SECONDARY CHARACTERS ARE PEOPLE TOO

In the books, Bert was only a minor character, a street artist known as The Match Man. He has much more prominence in the film, and his role as a chimney sweep was borrowed from a different character in the P.L. Travers series. Bert was given a presence and personality strong enough to be a companion for Mary Poppins. His equally charismatic signature song, "Chim Chim Chiree", won the 1965 Oscar for Best Original Song.

PICK THE RIGHT TIME PERIOD

The Shermans moved the story from the depression-era 1930s to the more hopeful turn of the century. Setting the story in 1910 London also allowed them to develop one character into a suffragette. Speaking of whom...

RISE TO THE CHALLENGE

Actress Glynnis Johns thought she had been cast to get the title role of Mary Poppins, only to learn that Julie Andrews had already been enlisted to play the title role. Walt appeased her by assuring her that the Shermans had written an especially great song just for her to sing. In truth, it wasn't even a thought up to that point. But Richard and Robert picked up the gauntlet and delivered a big and brassy number to give her lesser character a chance to shine.

SAVE SOME THINGS FOR A RAINY DAY

The Shermans wrote 32 songs for possible inclusion in Mary Poppins, but only 14 were used when Walt declared the rest "unnecessary" for the story. Some were repurposed in later Disney features including Bedknobs and Broomsticks and The Jungle Book.

CLOSE THE DOOR

The Sherman brothers avoided distractions like the plague. When it was time to write, they shut out the world around them to concentrate on the project at hand. 

In everything they wrote, Richard and Robert believed that story always comes first. By adopting that same focus, we can give our writing a little extra magic that is practically perfect in every way.

The Magic Mirror

by Gary Fearon, Southern Writers Magazine

When Romper Room (1953-1994) was on the air, each region did its own version of this kiddie show using a local TV host. Mine had "Miss Jean." I remember little about the show itself beyond its signature segment that always began with these words:

Romper, Bomper, Stomper, Boo
Tell me, tell me, tell me, do
Magic Mirror, tell me today
Have all my friends had fun at play?

After this incantation, each regional host would look at the camera and recite the first names of a handful of children in her viewing audience ("I see Jimmy, and I see Cindy..."). Presumably these were the kids whose parents had written in on their behalf. Maybe she supplemented with random names for good measure. Even at my young age I considered that possibility, though it was still a mild thrill when she happened to speak my name, and for that moment it did feel a bit magical.

Spreading similar joy to the other end of the age spectrum, weatherman Willard Scott took it a step further on The Today Show when he would congratulate someone on their 90th or 100th birthday and show their photo (brought to you by Smucker's). No doubt these nonagenarians and centenarians got much the same thrill as Romper Room's pre-schoolers did at the mention of their name, age and city.

These simple factoids delivered from stranger to stranger are often our own starting point when we're creating characters for our story. We typically begin with the standard details like their name; we have a general sense of their age, and we place them in some setting. But, like Miss Jean or Mr Scott, we don't know much of anything about them until we fill in some essential details.

At this point, writers will often work up a fact sheet, chronicling such details as the characters' hair color, eye color, height, weight, race, education, where they were born, etc. Some authors go so far as to include mannerisms, pet phrases, quirks, whether the character has an accent, and so on. These tactics are helpful and come in especially handy if there are multiple characters to keep track of.

That said, a fact sheet provides merely a sketch of the character. That's when many authors dig deeper to flesh out their character by exploring his/her motivations, belief system, hopes, and fears. What childhood incident left an emotional scar? What achievements give them strength? What have been the turning points in their life? Answering questions like these brings our stick figure character to life by giving him a soul.

Remember to include irony and conflict in your character's psyche; that is, who they want to be versus what is holding them back. Often they are their own biggest hurdle. As author/philosopher Albert Camus said, "Man is the only creature who refuses to be what he is."

A writer who has clearly tuned into their protagonist rarely regrets having invested the time to do so. The result is an authentic and well-defined character qualified to mirror the magic of your story.


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How the Pros Market to Today's Audience

by Gary Fearon, Southern Writers Magazine

Coca-Cola print ad, 1905

Delicious! Refreshing! Exhilarating! Invigorating!

These enthusiastic adjectives were the sum and substance of the very first ad for a brand new product called Coca-Cola, circa 1886. The soda pop giant has been advertising as long as any other product that comes to mind, and as always, it helps to take a lesson from the masters.

Mind you, not because we want to promote our books with over-the-top adjectives, but rather to observe how advertising experts like Coke have changed their strategies to adapt to the times.

Over the decades, Coca-Cola has been marketed by such monikers as "The Ideal Beverage for Discriminating People", "The Ideal Brain Tonic" and "The Drink of All the Year" (awkward as that sounds). It's hard to imagine these slogans having an effect on today's ad-weary and ad-wary audience.

As the buying public grew more sophisticated, it also became more skeptical, requiring proof to back up grandiose slogans. So ads went into considerable detail to fully explain a product and its particulars. "The bright tang of Coke is always welcome after a busy day of shopping. The bracing sparkle and the bit of quick energy you get in Coke makes it the perfect refreshment every time. It gives you a bright little lift; it brings you back so refreshed, so quickly..."

Diet Coke "Because I Can" campaign

Compare that to the latest ads for Diet Coke.  The primary message is that life is short and you should do whatever makes you feel good. (If that happens to be drinking Diet Coke, they wouldn't mind that a bit.) Rather than sell the product, they show others enjoying it, and basically let you decide for yourself.

Today's buyer is more vulnerable than ever to an invitation that makes them feel understood and important. In this age where they are bombarded with pop-up ads on PCs and video marketing at the gas pumps, they've learned to ignore blatant "buy me" marketing. Slice of life scenarios that are easy to relate to are what gets their attention.

That said, books are not Coke. Potential readers still want a detailed description of a novel to know what they're getting. But they are thirsty for a good experience, and buying books is a largely emotional and often impulsive decision easily influenced by the idea that something positive will come from it.

Would your book make a great gift for Fathers Day? Graduation? Christmas? Somehow it feels like less of a sales pitch when the purchase will be an act of benevolence.

Will your book help the reader escape into a world of mystery, history, romance, chills? An evocative cover will do more to sell the sizzle that an aggressive come-on. Your website, blog and other marketing materials need be little more than a reinforcement of the experience the reader seeks to convince them that your books are exhilarating! Invigorating! Or—as Coke might say—the real thing.

Today, soft sell is king, and the advertising adage "Don't sell the steak, sell the sizzle" is as sound as ever. Especially if you can sell the sizzle with subtlety.

Writing Your Character's True Feelings

by Gary Fearon, Southern Writers Magazine

A favorite couple of mine has a four-year-old who loves to role-play, so whenever I visit we play this little game.

"Make an angry face," I say. He frowns.
"Make a surprised face." His eyes and mouth open wide.
"Make a scary face." He narrows his eyes and shows his teeth.

We keep this going until I run out of emotions or Ninja Turtles comes on, but I always try to end the game with a happy face.

Even when it's not part of a game, it's easy to read what kind of mood a four-year-old is in. It's once we grow up that we are prone to conceal our feelings and make them less visible to others. Therefore, what you see isn't always what you get.

Writing a character's emotions via physical cues alone rarely hits the mark, especially if they are clichés. A character whose "heart leaps" at the sight of her beloved or who has "tear-stained cheeks" virtually leaps off the page with plasticity. Something as rich and personal as feelings deserves better.

We've all had supposedly true human interest stories forwarded to us in which someone was the recipient of a great act of kindness. We cringe from the sheer amateurism when we read that he responded "with a tear in his eye." These fake stories are so heartwarming, they're almost flammable.

So how do we express a character's emotions without resorting to clichés? By looking not at what's visible through outside appearance, but rather at what's going on inside. What is our character's reaction that makes him/her unique?

Everyone feels worry, for example, if they think they may have left the stove on after leaving the house. But going deeper, each individual has a thought process uniquely their own. One person may head back home in a panic, another may blame their spouse and start an argument, while another may eventually write it off and let fate decide.

What your character thinks and what he does in response to a situation reveals much more than a tear-stained cheek will. Instead of focusing on the obvious, use the moment to dramatic advantage.

Speaking of avoiding the obvious, take care to eliminate extraneous words in phrases like "tears in her eyes" or a "frown on his face". (Where else would she have tears, and where else would he have a frown?)

Whether or not a physical display accompanies them, feelings are a very internal thing. When writing emotions, seek out the more secretive elements of that very human experience.  Coming up with a scene that touches the heart authentically will elicit genuine emotion from your reader and put a smile (on your face).

The Haunted Hero

by Gary Fearon, Creative Director, Southern Writers Magazine

A good protagonist has issues. No matter how strong and resilient they may be, a solid hero comes with baggage.

When we speak of emotional baggage we generally think of it negatively. For the storyteller, however, it's a favorite device to give the hero depth. The basic plot will throw challenges their way, but it's the inner conflict they themselves bring to the story that can create some of the most intriguing and relatable tension.

In a popular film that's out right now (don't worry, I don't do spoilers), a girl blames herself for a family member's death. Because we observe the incident, it barely needs elaboration. Hardly anything is said of it, but we understand innately what her thought process must be as future dangers present themselves.

The sort of things that haunt our hero can involve any brand of turmoil: death, guilt, abandonment, shame, rejection, you name it. The cause of their self-torture may take place within the action of the story itself, of it may be expressed in a reveal after much of the story has taken place. The latter method is a handy way to pique the reader's curiosity if they are given clues along the way suggesting there is more to the hero than meets the eye. Ideally, it will relate in some way to the plot itself so that they can gain some victory over it as part of their ultimate arc.

Baggage is not only good for the protagonist, but it makes for a more fascinating antagonist as well. Most of us know that Batman wouldn't have become a caped crusader had it not been for a tragedy in his youth. But let's not forget that The Joker also has a troubled past that he considers to be a valid excuse for his mayhem.

Is baggage always bad? Not necessarily. Writer Hope Alcocer shares this brilliant explanation: "Behind every dancer there's someone that broke her, a song that moved her, a moment that inspired her, and a dance floor that healed her." The emotional weight that we lug around makes us who we are for all of life's ups and downs.

Before our heroes embark on whatever quest we send them on, the trip is certain to be more interesting if we remember to pack some believable baggage for their hero's journey.

Five Positions for Your Exposition

by Gary Fearon, Creative Director, Southern Writers Magazine

"Too much information" is known as such for good reason. There is a point at which communicating the facts jumps the fence beyond relevance and becomes overwhelming. TMI can kill conversation, take down empires, and ruin an otherwise good story. Knowing where to draw the line is one of the marks of a savvy storyteller.

Ideally, the reader should never realize they're getting backstory. Here are five proven ways to deliver details with finesse.

1. Be patient.
You know everything your reader needs to know and may be eager to get it out in the open, but the opening chapter isn't the place to share the hero's life story. Getting accustomed to the characters, the setting, the mood, and a hint at what the story's about, is a lot to take in, so give the audience time to assimilate it. More importantly, give them time to care about any of it. Once they've become invested in what's going on, they will appreciate learning the finer points.

2. Know when to hold 'em.
Kenny Rogers had the right idea in "The Gambler" when he sang of life as a poker game.  A well-told story exhibits the same principles of timing and restraint. If there's a lot of backstory, don't spill everything at once. Play your hands strategically and keep the ace up your sleeve for the right moment, when the audience will be most surprised by the revelation.

3. Pick a fight.
There's no better way to hide exposition than to distract with drama. Conflict is always interesting, and if the audience in tuned into trouble, they will scarcely notice that they are also learning backstory. An argument at a family reunion can reveal someone's drinking problem or the origins of a grievance between siblings. Compare the heightened energy of such a scene to a placid conversation that covers the same information.

Forrest Gump is almost entirely told via flashbacks.

4. Flashbacks can be fun.
This is an especially popular device used for villains and victims. The killer spots a stranger scolding a child, which triggers the memory of his own father beating him. The girl visits a beach and has visions of herself and her now-deceased boyfriend frolicking in the sand.

5. Get the picture.
Gotta pull out the old "show and tell" here. A picture is worth more than a thousand words if the audience can see for themselves that the heroine is a shoplifter or the attorney is slid a bribe from the opposing side. Letting the audience figure out some things on their own encourages them to be a participant in the story.

Remember, a discerning reader readily picks up on bungled backstory, so the fewer words it takes to give a history lesson, the better. When it comes to exposition, there's a lot to be said for not saying a lot.

Get Real

by Gary Fearon, Creative Director, Southern Writers Magazine


"The truth is out there," we are told, but lately it seems to get lost in the shuffle. The more technologically advanced we become, the more we find ourselves bombarded with beguiling betrayal. From clickbait to fake news, there is artifice around every corner trying to grab our attention.

These practitioners of prevarication may think they're pulling the wool over our eyes, but the good news is, we writers are too smart for them. As creative thinkers ourselves, we can spot a snow job from down the street.

Much like fast food, "reality TV" has a bad reputation thanks to its own generally unhealthy menu. But the discerning viewer can tell the difference between a genuine documentary like My 600-lb Life and the sitcomish silliness of Chrisley Knows Best. What they all have in common, however, is conflict.

I bring all this up to remind us of two things:

     1) People are entertained by conflict.
     2) A savvy audience can smell fakery.

Whether the drama is bonafide or bogus, the lure of any story lies in the conflict it portrays. But the more believable the conflict, the more we allow ourselves to invest in it.

Rather coincidentally, I just read a review of a new action movie in which the critic complains that the villain has no motivation nor backstory. Such a film lacks authenticity because even a bad guy has what he thinks is a good reason to give the hero a hard time.

By contrast, it's real human drama with a touch of suspense each time TV's Nev and Max catch a Catfish and get her face-to-face with the victim of her fake identity. It becomes even more relatable when we learn the reason for the ruse, sometimes even evoking a measure of sympathy for the catfish.

Similarly, a work of fiction carries the ring of truth if there is cause behind the conflict. Yes, the bad guy wants to rob a bank. But why? Because he wants money. But WHY? Because his son needs a kidney transplant. Now we have motivation, and when the truth is revealed we empathize with the troublemaker.

The bottom line is, keep it real and you'll keep your reader committed. Portraying genuine human drama in both the story and in the conflict you create for your characters is how you can avoid writing fake fiction.

When Bad Things Happen to Good Protagonists

by Gary Fearon, Creative Director, Southern Writers Magazine

Perfection is boring, said more than one writer and even more readers. We can appreciate perfection, of course, as in a gorgeous sunset.  But when we're seeking to be entertained, it's all about the imperfection of things going badly for the hero.

No one seeks hardship upon themselves, and when given the choice we will choose the lesser of two evils. Our hero has the same instinct for self-preservation, so he/she will try to avoid trouble at all cost. Which is why problems must be thrust upon them, usually by someone with an opposing agenda.    

"Good people do not need laws to tell them to act responsibly," said Plato, "while bad people will find a way around the laws." This great forefather of fiction knew that characters with a propensity for doing bad are good at creating conflict for a sympathetic hero. When trouble strikes as a result of an outside force, our innocent victim is considered a passive protagonist.

On the other hand — just as in real life — trouble can be self-inflicted, caused by the hero's own carelessness, bad judgment, stubbornness, or other misstep. This active protagonist can attract adversity, if only via good intentions gone wrong. They had set out to accomplish something, only to have it go awry.

In general, writers are told to avoid the passive protagonist because readers don't invest themselves as readily in a hero who things merely happen to. They wish to identify with someone who wants something and is intent on getting it.

The ideal plot, it would seem, will star an active protagonist capable of causing his own calamity (the archetypical flawed hero), only to be further thwarted by an equally active antagonist who brings even more tribulation to the table. Our poor imperfect protagonist can't get a break. They have an enemy but can also be their own worst enemy.

The goal is to pile on however much misfortune it takes to convince the reader that all is lost; that there's no possible way the hero is going to come out on top. They will, of course. But it's all the stumbles threatening that victory which keep the reader turning the page, since trouble — no matter who's causing it — is just plain interesting.

Oscars: Who Wrote This Year's Best Picture?

by Gary Fearon, Creative Director, Southern Writers Magazine

Every year as the Academy Awards near, it's interesting to look at the origins of those movies nominated for Best Picture. Obviously, the screenwriters did something right, and sometimes their job was made easier by a good book that preceded it. So how did this year's nominees stack up?

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
This drama about an unsolved murder, expected to do very well on Oscar night, was an original screenplay written by its director Martin McDonagh, He came up with the idea after seeing similar billboards about a crime "somewhere down in the Georgia, Florida, Alabama corner".

LADY BIRD
Another film written by its director (Greta Gerwig), this light drama focuses on the stormy relationship between a high school senior and her well-meaning but demanding mother. Gerwig admits that although it's fiction from start to finish, its inspiration comes from her own experience.

THE SHAPE OF WATER
This drama involving a mute spinster and the man-like amphibian she bonds with was also written by its director (Guillermo del Toro). It has its origins in del Toro's childhood viewing of Creature from the Black Lagoon. He had pondered what would happen if, instead of abducting a girl, the creature became friendly with her.

PHANTOM THREAD
Yet another screenplay written by its director (Paul Thomas Anderson, whose There Will Be Blood, also starring Daniel Day-Lewis, was a 2007 Best Picture nominee), Anderson loosely based this 1950s story about a quirky but revered dressmaker on late fashion designer Charles James, labeled "America's First Couturier".

CALL ME BY YOUR NAME
Here's one that actually began as a novel by André Aciman, published in 2007. This drama centers around a teenage boy and the male graduate student he begins a summer romance with. Not for the kids.

GET OUT
TV comedian Jordan Peele (Key & Peele) wrote and directed this horror movie about a black man who encounters strange circumstances when he meets the family of his white girlfriend. Peele says comedy and horror have much in common and that the story was vaguely inspired by the classic satirical film The Stepford Wives.

DARKEST HOUR
Written by Anthony McCarten, who previously wrote The Theory of Everything (about the life of Stephen Hawking), Darkest Hour focuses on another famous figure, Winston Churchill. Through drama and humor it chronicles Churchill's first days in office against the backdrop of WWII.

DUNKIRK
Speaking of war, Dunkirk tells another tale from troubled 1940s Europe. Director Christopher Nolan was inspired to write the film after he and his future wife sailed across the English Channel and followed the path of boats in the Dunkirk evacuation. Nolan's 76-page screenplay was half the length of a typical script, as he chose to focus on visuals and music to tell the story rather than rely on dialogue.

THE POST
Still speaking of war, this historical political drama depicts the Washington Post's pursuit to publish classified documents about America's involvement in Vietnam.  It was co-written by first-timer Liz Hannah and by Josh Singer, who also wrote the 2015 fact-based nominee Spotlight.

So, there you go. Three films were based on actual events, while most of the rest were inspired by something based on real life or by reimagining an existing story. As you cheer on your favorites on Sunday, March 4th, let it serve as a reminder that truth is stranger than fiction and is always a ready source of writing inspiration worth its weight in gold.

How Many Characters Does It Take?

by Gary Fearon, Creative Director, Southern Writers Magazine

Everybody knew everybody's name in Cheers.

No doubt you've heard the old joke, "How many (fill-in-the-blanks) does it take to change a lightbulb?" There are many variations, but one of my favorites is:

"How many mystery writers does it take to change a light bulb?"

"Two. One to screw it almost all the way in and the other to give it a twist at the end."

The question I will ponder today is one that writers face, whether consciously or subconsciously: How many characters does my story need?

I once attended a play performed by one solitary actress.  It was something about a trip to Europe, as I recall. What I remember most is that, as part of the story, she actually fried up some bacon and eggs on stage. I was glad I had eaten dinner beforehand or it might have turned into a two-person play.

Similarly, Hal Halbrook entertained audiences for five decades with his one-man show Mark Twain Tonight. From the above examples, it might seem as though only one character could be sufficient to tell a full-length story, and that can happen, but keep in mind that their narratives will usually include anecdotes that involve other people.

A sprawling Dickens novel, on the other hand, will weave in a generous cast of characters. David Copperfield and Oliver Twist, for example, include roles for ten major players each, with some sub-characters becoming more famous than the protagonist himself.

There are over fifty characters in the Lord of the Rings saga. Thank goodness we don't have to keep track of every one, but maintaining a working knowledge of the comings and goings of the main ten-plus while traversing the 455,125 words in this trilogy takes some doing. 

That said, from classic dramas like Twelve Angry Men and The Dirty Dozen to campy comedies like It's a Mad, Mad, Mad, Mad World (which crammed as many celebrities of the day as they could afford), audiences have proven that they can handle a handful. The more recent The Hateful Eight and the upcoming Ocean's 8 might seem to suggest a trend toward slightly smaller ensembles, but who's counting.

The answer to our original question could well depend on how long the story is to be, and whether the length allows for some resolution for each of the major players. A short story only allows for one or two problems to solve, which can be accomplished with a very minimal cast.  If there are a dozen heroes, companions and enemies to address, more pages will be necessary to sort it all out and provide closure for each of the primary characters. (Secondary and incidental characters, of course, can slide.)

One important point, and it's amazing how often this is overlooked: No matter how many are in an ensemble cast, care should be taken to choose names that are distinct. A story that includes both a Carol and a Caroline is begging to confuse the reader.

Every character has their own story to tell, and each one you add becomes one more in the bigger picture. So as you may have already concluded, the simplest and best answer to the question of how many characters it takes to tell your story is: As many as it takes.

Timing is Everything

by Gary Fearon, Creative Director, Southern Writers Magazine

A funny friend of mine used to love to say this joke:

"The most important thing when you're doing comedy is ... uh ... er ... timing!"

Well, it was funny when he said it.  

The inherent wisdom behind his witticism was that getting the time wrong throws things off-kilter. This isn't only true for punchlines, but for any kind of communication.  Perhaps even moreso when it's the written word.  Consider this passage:

Dan didn't know why he was waking up in a hospital bed.  One of the last things he remembered was talking to Eleanor and Bobby at the party.  He looked at his watch.  Almost 8.  He was in the mood for one more drink before he said goodnight.  A nurse then appeared at the doorway.  

If you were confused reading that, I was just as confused writing it.  Was Dan checking his watch at the party or at the hospital?  Did a nurse suddenly show up at the party?  It all becomes clear in context, but the reader isn't supposed to have to work that hard to sort it out.

Another example of off-timing is when mixing past and present tense:

Only after the plane took off did James realize his briefcase is back home on the dining room table.  In it were the wood samples that his entire presentation depends on.  It will require some clever ad-libbing to describe the different finishes he told Mr Shaw he'll have ready.

That's a pretty blatant example of terrible time-shifting.  In actual practice, opposing tenses tend to creep in much more subtly and stealthily, especially during dialogue segments.  Be on guard for "he said" and "he says" that try to share the same time frame.

Another time element that confuses many is the use of "was" versus "were" in statements such as:

"I wish I was homeward bound." (Simon & Garfunkel, 1966)
"I wish I were an Oscar Meyer Weiner." (TV commercial, 1965)

Only one of these is correct.  Which one is it?

In matters of non-reality, such as a wish or other imagining, the verb "were" helps to clarify, removing it from the realm of possibility.  No one would say, "I were homeward bound," but a sentence that includes "I was" could be taken incompletely to suggest "I was an Oscar Meyer weiner."  So songs like "If I Were a Carpenter" were correctly titled, while "If I Was Your Woman" wasn't.

These common mistakes in time and tense are easy to make, but just as easy to fix.  Developing good timing will help ensure that your writing is clear and linear and that both you and your reader have a good time.

On the Second Day of Christmas

by Gary Fearon, Creative Director, Southern Writers Magazine

If "my true love gave to me" has already popped into your head, congratulations!  Your musical memory is alive and well, even though we've heard "The Twelve Days of Christmas" for the last time this year. Technically, however, today is the second day of Christmas, so in that spirit I thought we'd take a second look at Christmas past.

I can get a little nostalgic thinking about Southern Writers' first Christmas, in 2011.  It was an exciting time of promise, adventure, and new friendships with authors and each other.  One thing I remember fondly was that, for the month of December, every day on this Suite T blog was devoted to a different "gift".

These classic posts are a little hard to find, unless you go looking for them.  So I went looking for them.

The Gift of a Writing Partner by Kelli Zaniel
The Gift of a Reader by Shannon Milholland
The Gift of Counting the Cost by Doyne Phillips
The Gift of a Time Out by Gary Fearon
The Gift of Time by Susan Reichert
The Gift of Humor by Jenny B. Jones
The Gift of Great Food by Shannon Milholland (includes recipes by authors and the SW staff!)
The Gift of a New Beginning by Doyne Phillips
The Gift of Gab by Gary Fearon
The Gift You Get When You Give by Susan Reichert
The Gift of Mystery by Sandra Balzo
The Gift of...Gifts by Shannon Milholland
The Gift of Great Art by Doyne Phillips
The Gift of Music by Gary Fearon
The Gift of Poetry by Susan Reichert
The Gift of a Family Heritage by Renee Rowell
The Gift of Leadership by Londa Hayden
The Gift of Hope Deferred by Doyne Phillips
The Gift of Goals by Gary Fearon
The Gift of a New Year by Susan Reichert
The Gift of a Rich Childhood by Sarah Loudin Thomas
The Gift of FREE Marketing by Jessica Ferguson

Maybe one or more of those "gifts" will resonate with you on this second day of Christmas, which, by the way, is immortalized in another yuletide chestnut.  December 26 is the "Feast of Stephen" mentioned in the song "Good King Wenceslas".  I hope you'll "feast" on the joys of the season still to come, and will continue to celebrate all the way up to that twelfth day of Christmas, on January 5th.

Now that it's stuck in your head, feel free to hum "Good King Wencelas" today. (If you know the words, I'm impressed.)

The Seven Basic Plots

by Gary Fearon, Creative Director, Southern Writers Magazine


If you're a writer who's been on Facebook or YouTube lately, you've probably been presented with a video ad for Ron Howard's Master Class on Directing. In the promo, he makes reference to a theory held by some that there are "seven stories".  I thought we might briefly explore those seven story lines from which most tales spring forth.

Christopher Booker is credited for writing the book on the subject, namely The Seven Basic Plots: Why we tell stories. At around 700 pages, it's a thorough analysis of each story line, breaking each down into their own set of stages. For the sake of this post, here is an oversimplification:

Overcoming the Monster
Not always a literal monster, but a major threat to our hero, who takes up the challenge to destroy it.

Rags to Riches
An underdog overcomes the odds to become top dog.

The Quest
Our hero must find a treasure of great value, and embarks on a journey to find it. 

Voyage and Return
Our hero lands in a place unlike home and must learn new rules to prevail. Eventually he/she returns home better than before.

Comedy
A goal is impeded by funny obstacles.  Often, if the main obstacle is a person, they get a come-uppance in the end.

Tragedy
Our hero is his own worst enemy, with qualities that lead to his downfall.

Rebirth
The ultimate character arc, in which the hero transforms into a new being, literally or figuratively.

In reading these, you may have already assessed that many stories contain more than one of these plots, and you'd be correct.  For example, isn't The Wizard of Oz a quest for a treasure as well as a voyage to a strange world?  Booker himself acknowledges the frequent overlap of two or more of these plots, and even mentions two more which he considers less common:

Rebellion
The hero rebels but ultimately surrenders to, and perhaps joins, the powers that be.

Mystery
The hero seeks to discover the truth of a murder or other unexplained event.

Some writers feel that lumping stories into categorized plots is disrespecting their originality. Others feel that there are as many as 25 plots, not merely seven. Ron Howard implies that there is just one, but we may have to buy his Master Class to learn what that is.

In his classic book Story, legendary screenwriting expert Robert McKee declares: "A rule says you must do it this way. A principle says this works, and has through all remembered time."  Why reinvent the wheel from scratch when someone has already rounded off the edges for you?

The fact that we can think of our favorite movies or books and see how they fit into one or more of these story lines is testament to their enduring effectiveness and popularity.  Could you possibly insert your hero's name into one of the seven plots and refine it into the logline for your next novel?  Your own creativity will make the time-tested tale uniquely yours.

Authors: which of these seven (or nine) would you say approximates the primary plot of your most recent novel?

Circle Around for Your Story's Success

by Gary Fearon, Creative Director, Southern Writers Magazine


It seems like just yesterday we'd be flipping the pages of the latest Archie or Batman comic book and we would come across this headline:

"Tired of being picked on? Nobody picks on an ATLAS MAN!"

The cartoon accompanying this full-page ad showed a beach bully kicking sand at a skinny fellow (named Mac) and his girl.  After confronting and being threatened by the muscle-bound brute, Mac vows to get even some day.  In the next panel, he signs up for Charles Atlas' bodybuilding course, and in the end he becomes the hero of the beach.

The word balloons changed over the years, I noticed, so sometimes Mac's girl was sympathetic when he vowed revenge.  Other times she said something demeaning like, "Oh, don't let it bother you, little boy." Originally, the cartoon showed the aftermath of a now-powerful Mac knocking the beach bully out.  Over time, the advertisement eliminated that panel, probably because it promoted violence.  Or maybe Mac punched out his verbally abusive girlfriend off-screen.

The point is, in the full version of this miniature morality tale, we are given a definitive "before" and "after".  Before, Mac is picked on by a bully.  After, the underdog becomes top dog.

This classic Atlas ad is a simple but effective example of the full circle readers want in their stories. There has to be a situation that needs resolving, and by the end of the story that situation must be resolved.  Without either, there is no sense of accomplishment.

A time-tested method is to establish, at the beginning of the story, our hero in his/her current state (their "Ordinary World", as the experts call it).  We'll see them going about their normal routine in their normal circumstances so that we understand the status quo.  After that, things go topsy-turvy and the hero's world as they know it comes under siege by whatever problems the story dictates.  A series of ups and downs follow, until finally there is victory and we are rewarded with a scenario that hearkens us back to the original roots of the hero.

This return to the "ordinary world" will clarify the results of what has taken place and show how things—and hopefully the hero—have changed.  The hero doesn't physically have to return to their hometown with a parade waiting for them.  Sometimes the hero in fact cannot go back to their world, but an early vulnerability that is now a strength is easy to convey.

If the character arc has been apparent enough, it may not even be necessary to change a thing. A mere reminder of how things used to be could be sufficient.  Perhaps the hero was swimming at the beginning of the story.  Toward the end of the story, the hero is swimming again.  Same activity, but this time we know they possess a contentment they didn't have the first time.

Life itself affords us very few clear-cut befores and afters, so we find fulfillment in those we experience with our fictional friends.  Letting readers go full circle with the bookends of an obvious before and after is an easy and effective way to bulk up a skinny story.

A Trip through Titles

by Gary Fearon, Creative Director, Southern Writers Magazine

From time to time, I enjoy browsing through the latest book titles to observe current trends in titling. This time around, I thought it would be timely to focus on the 158 books that appear in the brand new 2017 Southern Writers Holiday Catalog.  

Often, I break titles down into about four categories. For this exercise I chose seven categories, to get even more specific but also because it makes for a colorful pie chart.

As is often the case, the titles chosen by most authors (54 in this case) come under a non-specific GENERAL category. These are books that give a sense of what's inside without giving too much away, yet still establish the right mood. Here are just a few examples.

A SITUATION is implied in the second most popular category. We learn just from the title such things as that a murder has taken place or that Cupid will be flinging some arrows.

Then you have titles that are poetic or ambiguous and evoke curiosity. They sound thoughtful and erudite, in the order of Gone with the Wind or Of Mice and Men.  Let's call these SYMBOLIC.

The MAIN CHARACTER can be identified by name or by their role in the story, sometimes suggesting the plot.

Or the title can get SPECIFIC about an important object or setting in the story.

There are, of course, NONFICTION titles that speak to the purpose of the book.

And a title can also be a STATEMENT unto itself.

Clearly, there are many roads that can be taken when coming up with a title for your book. The most important thing is to make sure your title is different from other books already out there and that it conveys something, preferably something that will grab attention and interest your potential reader enough to buy it.

If you enjoy browsing titles as much as I do, you'll enjoy thumbing through all 158 in the 2017 Holiday Catalog, which you can do right now by clicking on the cover to the right, or by visiting http://bit.ly/SWHC2017

Happy holidays and happy reading!