I love Murder on the Orient Express.
I have read the book more than once, seen the 1974 movie starring Albert Finney as Hercule Poirot, seen the 2017 movie starring Kenneth Branagh as the same character, and in my own travels I have stalked the train (or what's left of it) itself. In the early 20th century the Orient Express carried the well-heeled of Europe from Paris to Istanbul in high style. Today, the Venice Simplon-Orient Express now owned by Belmond, takes well-heeled tourists from London to Venice in nostalgic Art Deco luxury.
There must be a thousand books on "How to Write." If you read them all you wouldn't have time to write.So what are a few really good ones? How do you know if a book on writing is good? How do you know this author's advice is right or wrong? That's easy. Read a bit of it and if you are having a hard time putting it down--the author knows what he's doing. This topic, after all, is dry as dirt. It's right up there with "How to change the duvet cover," or "How to clean a bathroom," or "Filling out your 1040 form."
The best book on writing I have ever read is Stephen King's "On Writing" which, by now, has probably gone through a dozen editions. I couldn't put it down. I've read it more than once and not because I didn't remember his advice. It's wonderfully entertaining. I can't forget his description of pretending to be a circus strong man when he was two years old.
I've been looking at a website called Master Class and I see a lot of today's top writers are contributing their best suggestions.One click gives you samples of their advice and I have clicked on a bunch of them. I would tend to favor the words of authors that are my personal favorites. If I enjoy them, I think, so would others. My taste in stories is not unusual. I'm pretty typical. It's not free, but at $120/year, it's cheap for what you can get if you really use it.
This may sound stupid, but I learn a lot from listening to a favorite author on audio. It doesn't matter if the author is doing the reading or not. Some writers are not good readers, and some are. Listening frees your mind to think only about the story. When you aren't thinking about the words on the page or how many pages are left in this chapter, you become more aware of the structure. Why is the writer giving you all these details in one chapter but not in another one? Where is the viewpoint character and what are his eyes seeing? If she parks her car, does she immediately open the door? Does she remember to pick up her purse? Why does the writer skip over all the details sometimes with a brief, "Next morning, he flew to Chicago?" Details are tedious if they don't move the story forward.
Sometimes I can just lie in bed with my eyes closed and realize that I'm working!
Michael Rigg:
I’m not much of a beach reader. Sun and sand and sweat don’t create an inviting atmosphere for reading. (And sunscreen makes the pages stick together.) But sitting at a beach house in Sandbridge pouring over a novel, with the roar of the ocean as background? Well, that’s a horse of a different color. Especially if there’s air conditioning involved. Next on my summer
I feel like some writers give their characters random names. Maybe they throw darts at a phone book or something. But this system would now be obsolete. (What's a phone book, Daddy?) But in fact one famous writer did just that. Allegedly. Somerset Maugham is said to have named a couple by the phone book method and chosen their address from a street map of London. It is said that Maugham was threatened with a lawsuit when a couple with a similar name actually lived at a similar address and took exception to Maugham's version of the shenanigans going on at their house.
All of the writers of the "Sand in our Shorts" blog wish all of our
readers a wonderful year to come! We've put together some of our favorite poems
to curl up with on a cold winter's day, so grab a blanket and a warm cup of
cheer and enjoy!
Maria Hudgins:
My favorite poem is "The Cremation of Sam McGee" by Robert Service.
"Now Sam McGee was from Tennessee . . ."
The only thing better than discovering an epic fictional character is creating one yourself. How is that done? How did Conan Doyle think up Sherlock Holmes? Did Agatha Christie know a Miss Marple? How did Johnny Depp know that portraying Captain Jack Sparrow like Keith Richards would be more fun than the old "Arghh!" growling pirate? If only we knew the answer we would all be millionaires. but usually the act of timeless character creation is chalked up to "genius" and we assume we can't do it. Can we look at this a bit more? Who flies off the page (or the screen) and grabs you? A great story needs characters that grab you.
You chose the campus. Either you sought freedom from your family, or your family sought freedom from you. When moving day arriv...