November 2020 – OBSCURA

Old Work, Uncategorized

Long-Time Acquaintances

November 27, 2020 / 0 Comments

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Erika Lewis

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Child of Frankenstein
May 17, 2021

Arroz con Gandules
April 23, 2021

Killer Couple pt. 2 #MurderMysteryMonday
April 27, 2021
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Chapter 27: Running out of Time

November 25, 2020 / 0 Comments

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Erika Lewis

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Rock Reading Tuesdays
April 14, 2021

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April 21, 2021

Vanished #MurderMysteryMoNday
May 18, 2021
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You Gotta Have Faith

November 20, 2020 / 0 Comments

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Erika Lewis

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CONFESSIONS OF A CHARACTER FREAK
March 7, 2021

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May 19, 2021

The Jibarito Sandwich!
March 19, 2021
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Chapter 26: Separation of Powers

November 18, 2020 / 0 Comments

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Erika Lewis

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February 24, 2021

The perpetually learning mom…
April 30, 2021

Flán de Leche
May 14, 2021
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The Puppy Had It Coming

November 13, 2020 / 0 Comments

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Erika Lewis

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Death Before Dishonor #MurderMysteryMonday
March 16, 2021

The perpetually learning mom…
April 9, 2021

The Valentine’s Day Murder #MurderMysteryMonday
March 1, 2021
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Chapter 25: Surprise!

November 11, 2020 / 0 Comments

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Erika Lewis

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80 miles From Charlotte #MurderMysteryMonday
March 9, 2021

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May 5, 2021

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May 17, 2021
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What If, Maybe, You Made a Commitment?

November 6, 2020 / 0 Comments

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Erika Lewis

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The perpetually learning mom…
March 26, 2021

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April 23, 2021

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Chapter 24: Undercover Initiate

November 4, 2020 / 0 Comments

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Erika Lewis

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February 24, 2021

Couples that kill #MurderMysteryMonday
April 20, 2021

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October 25, 2021
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Double Life Brown Girl: Chapter 2 – Adjusting Culture

November 4, 2020 / 0 Comments

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Erika Lewis

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May 7, 2021

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April 6, 2021

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March 1, 2021

Thomas Benke: Looking Around

In Bird by Bird, Anne Lamott, in the Chapter “Looking Around,” says this:

Now, if you ask me, what’s going on is that we’re all up to here in it, and probably the most important thing is that we not yell at one another. Otherwise we’d all just be barking away like Pekingese: “Ah! Stuck in the shit! And it’s your fault, you did this …” Writing involves seeing people suffer and, as Robert Stone once put it, finding some meaning therein. But you can’t do that if you’re not respectful. If you look at people and just see sloppy clothes or rich clothes, you’re going to get them wrong.

She goes on to speak about empathy for other people and also, as an extension empathy for yourself. So, in a sense as you try to write believable, relatable characters, you will come to forgive people their trespasses—because no one believes they are the villain of their story, so you have to write “bad,” or “evil” characters from a point of view where they rationalize what they are doing in such a way that it is the right or only way they see is possible. By extrapolation, then, if you begin to forgive and withhold judgment from your less-than-desirable, or annoying characters, perhaps you can extend the same courtesy to yourself and forgive your own trespasses and sins. This, for me, starts to enter the realm of “writing as therapy,” and though I am a firm believer in that—I practice it to this very day—I think I would caution anyone who thinks that simply writing through things is going to lead you to a place of light and love. I am not saying it can’t by any means. What I am saying is I have wrote through my thoughts and my problems and my desperation and depression for decades and I still had enough baggage on my shoulders to supply an army platoon with rations for a year.

In any case, when thinking about craft, it is very important to step into the shoes of all of your characters, especially those characters that you see as antagonists and villians. I believe there are very few universal maxims in writing but one thing is virtually certain: every character you write is your version of that human being. Confucius said “everywhere I go, there I am,” and that is never more true than when you are writing. So if you are writing a character that is distasteful to you, it might be effective for you to ask yourself why that is the case. I wrote a blog for Obscura last semester titled, “The Puppy Had It Coming.” The gist of the article was to pose a puzzle to writers. How can you write a scene where an adult human kicks a puppy across the room and the reader at least understands why. I am not saying there is any way to justify the action or for the readers to be on the human’s side unless they are sociopaths. I am saying you need let the reader know how dark the place is in the character’s mind that he is capable of doing that.

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