October 2021 – OBSCURA

Old Work, Uncategorized

#TerrorThursdays! pt. I

October 28, 2021 / 0 Comments

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Erika Lewis

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Arroz con Gandules
April 23, 2021

Child of Frankenstein
May 17, 2021

The Bind, torture (attention seeking) killer who wasn’t as smart as he thought
April 6, 2021
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Childhood Creativity Blooming into Adulthood

October 25, 2021 / 0 Comments

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Erika Lewis

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Child of Frankenstein
May 17, 2021

The perpetually learning mom…
March 26, 2021

The Basics Part 2: Mojo Criollo
March 5, 2021
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The Place Where There is No Darkness

October 22, 2021 / 0 Comments

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Erika Lewis

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The Basics: Sofrito!
February 26, 2021

The perpetually learning mom…
March 19, 2021

Rock Reading Tuesdays
March 24, 2021
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#TerrorThursdays!

October 21, 2021 / 0 Comments

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Erika Lewis

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The perpetually learning mom…
April 30, 2021

Alcapurrias
April 16, 2021

Death Before Dishonor #MurderMysteryMonday
March 16, 2021
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“Hey My Love. Blue Tail. Tail Fly.”

October 15, 2021 / 0 Comments

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Erika Lewis

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CONFESSIONS OF A CHARACTER FREAK
March 14, 2021

80 miles From Charlotte #MurderMysteryMonday
March 9, 2021

The Basics Part 2: Mojo Criollo
March 5, 2021
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Setting the Pace

October 8, 2021 / 0 Comments

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Erika Lewis

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April 21, 2021

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Couples that kill #MurderMysteryMonday
April 20, 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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