Tag Archives: conflict

“The Most Successful Bankrobber Ever”

Jack Foley.

The first time I met Jack Foley was in Elmore Leonard’s novel Out Of Sight. Elmore Leonard was a literary genius and his approach to storytelling and dialogue are two of my biggest influences when I write. You’ve probably been aware of his work (notably Get Shorty, 3:10 To Yuma, and the television series Justified to name a few). When I read Out of Sight, I immediately liked Foley as a character. But when the movie came out, something incredible happened. The movie version released in 1998 and was directed by Stephen Soderbergh. It remains one of my favorite movies and, in my opinion, the best of Leonard’s novels turned into film (in a tie with Quentin Tarantino’s Jackie Brown – which I’ll discuss next month!).

Foley’s career bank robber with a good heart escapes from the Glades Federal Penitentiary in Florida and promptly runs into U.S Marshall Karen Sisco. In the commotion of the escape, they end up in the trunk of a Cadillac as Foley and his accomplice, Buddy, run. By the time we see this, we’re already in love with Foley. He is smart, good looking, charming as hell, and always has a plan. In the trunk of the car, lit by the reverse side of the taillights, Foley and Sisco have a conversation that feels as natural as one that you and I could have. In the midst of the dangerous situation, sirens and flashing lights close by, we’re pulled into their discussion as naturally as possible. By the time they got out of the car, and the rest of the tale unfolds, we’re clearly following both of them and wanting them to get together at the end of the movie.

In the movie, George Clooney plays Jack Foley and Jennifer Lopez plays Karen Sisco. With Ving Rhames, Don Cheadle, Michael Keaton, and Albert Brooks as some of the stellar cast, the movie is very true to Leonard’s novel.

So what’s the big deal? Why is Jack Foley a memorable character?

Flash forward a few years and Elmore Leonard’s sequel to Out of Sight was released. Road Dogs follows Jack Foley after his release from prison as he tries to build a new life for himself but keeps running afoul of shady characters out for money and blood. From the book Out of Sight, which is one of my favorite Leonard titles, I liked Foley’s character. However, seeing him played by Clooney so perfectly, as I read Road Dogs, I could not stop seeing and hearing Clooney in the role. That’s where Foley transcended being a likable sympathetic character into something different. Clooney’s effortless performance as Foley indelibly attaches his “aura” to the character. The likable, memorable character has become something else entirely through the visual medium.

There are a few movies that suck me in when I find them one television. All of them have something in common. A sympathetic, regular guy protagonist with a good heart trying to get by. All of those movies have been perfectly cast so that the main characters are indelibly etched into our minds. Seriously – could anyone other than Tim Robbins have played Andy in Shawshank Redemption? Clooney’s performance as Jack Foley did exactly the same thing. When written stories become films, so many times the elements the make the books vibrant and alive are lost. Sometimes, we cannot see a character in our minds as clearly as the movies define them.

But when a likable, memorable character is played by the right actor or actress – wow. And you all know exactly what I’m talking about. But is it the actor or the character that is memorable? I vote character. No matter the actor’s talent, commitment to the role, or appearance, the character is developed on paper and is the vision of the writer/screenwriter that the actor is to bring to life. When it’s done perfectly in a book, it resonates with us. When we see that on camera, it’s more than memorable. It’s legendary.

Why We Need to Write the Military Right: Part Two

A guest post by Karen Traviss.

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If you missed Part One, you can find it here.

So why does fiction influence us so much when we know it’s not true? Our guard isn’t up, so we’re not expecting to be told anything. In fact, we’re open and receptive because we want to immerse ourselves in the story. It gets under our radar much more effectively than news or earnest information campaigns, and if it’s powerfully emotional as well, then it really sticks. Humans are pretty hazy about facts and our memories are frighteningly malleable, but we can almost always recall emotions even when suffering from dementia. The basic rule of PR sums it up: the public might not recall what you said, but they’ll always remember how you made them feel. Our emotional memory is hard to erase.

In the absence of personal experience, the brain takes what data it can get – even bad or irrelevant data – and tries to form it into a pattern that makes sense of the world. That’s why we started telling each other stories in the first place, to explain a world that baffled and frequently terrified us.

The penetrative power of fiction makes PR folk put great effort into getting causes and products worked into TV shows. It’s not a modern phenomenon. Getting ideas across under the cloak of a story has been with us for centuries. It gave birth to culturally-embedded fiction like the world’s longest-running radio soap, The Archers. From Uncle Tom’s Cabin, credited with influencing opinion on slavery, to raising awareness about cot death via TV soaps, fiction straddles the blurred line between the real and the unreal, and it can have positive outcomes.

But it can also be negative, and that even has a name these days – the CSI effect. I first came across the term in a conversation with a police officer who thought the TV show gave juries a false expectation that evidence was infallible and clear-cut, wrapped up neatly by the end of the episode so to speak, and that they struggled with the inevitable ambiguity and margins of error. One told me that even some his colleagues have unrealistic expectations of forensics because they’ve been influenced subconsciously by CSI. By contrast, it’s hard not to love the Swedish cop show Wallander for its less glam reality; the detective asks if a security camera image can be enhanced to grab a tiny detail, and the technician tells him the recording just isn’t high-res enough to do that.

I’m not saying that all fiction has to be documentary in nature, because if its was, most books or movies on the SAS would be 400 pages of blokes hiding in a muddy hole and observing stuff before departing entirely undetected, with perhaps one page of a thirty-second firefight resulting in a small pile of bodies. Nobody would pay to read that. We accept that fiction is a distilled and stylised perspective. Sometimes reality itself – like Operation Chariot, the extraordinary 1942 commando raid on St Nazaire – is just too impossible to pass the fiction test and needs to be filed in the Department of You Couldn’t Make It Up.

I’m not saying that fiction should become propaganda, either. It’s not fiction’s job to avoid examining things that unsettle and offend – it’s often society’s safest way of doing it. But the licence to offend is conditionally granted for telling basic truths. Portraying all soldiers as unthinking, brutish thugs who bully civilians, which seems to be a recurring theme in shows from the BBC’s Dr Who/ Torchwood/ Sherlock stable, bears no resemblance to the many hundreds – perhaps thousands – of service personnel I’ve met over the years. That’s the kind of stereotype I object to and that I feel percolates into the consciousness of those who have no benchmark in the real world. It smacks of the worst kind of social demonization, too, because it seems to be aimed at the working class who make up the core of our army.

But the BBC trails far behind Hollywood as a purveyor of bad data, so let me wind up with a quick and highly opinionated suggestion of what good military storytelling should look like, based on three movies.

The worst war movie I’ve seen is The Hurt Locker, which I judge harshly because it acquired an inexplicable reputation for authenticity despite some of the dumbest and most unreal behaviour imaginable. (Don’t take my word for it. Ask someone who’s done the job.) If it hadn’t set out its stall as realism, I would have ignored it as just another so-so movie.

The very best film is the agonisingly real Kajaki, a meticulously accurate recounting of a real incident in Afghanistan that dispenses with most cinematic convention and feels like a being a helpless bystander on the spot, watching the disaster unfold around you. Warning: it’s not an easy film to watch. Harrowing doesn’t begin to describe it, but you’ll be glad you saw it. It even portrays private security contractors in an honest and unsensational way, the only movie I’ve ever seen that’s avoided the “out-of-control mercenaries” stereotype.

Between those two extremes, but far closer to Kajaki, is the underrated Battle: Los Angeles, which is decently realistic in its depiction of urban ops despite being apocalyptic SF, although the barely-visible aliens could just as easily have been a human enemy. The Marines conduct themselves like Marines, and the minor technical errors (most of which I missed) don’t detract from the overall excellence. I’m indebted to a former US Marine for recommending it.

Get those three movies on DVD, or however you source your film entertainment, and watch them carefully. If you know a vet or someone serving, buy them a few beers and a pizza and watch them together. You’ll have one of the most educational conversations of your life.

Remember that there’s no such thing as too much research. I come from a naval city and the military world has been part of my working life to a greater or lesser extent for more years than I’m prepared to admit, but I still have to do my homework every time I write. I also make sure that I run my manuscripts past friends who’ve seen front-line service.

There’s a lot of small detail and technique to writing authentic military fiction, of course, but that’s a topic for another day. You need to do your homework on the language, the procedures, and the hardware, which will vary enormously; one size doesn’t fit all. But if you’ve got the heart of it right – what soldiers think, feel, do, and worry about, and the relationships they build – then you’ve kept faith with those who do the job for real, and that matters. You may well be shaping civilian attitudes to remarkable people who they’ll probably never encounter in real life.

So we owe it to our troops to make sure the voice we give them in our stories is an honest one.

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Footnote: if you’re wondering if it’s really that easy to implant false impressions in sane, intelligent people, this is one study of many that shows it’s a breeze. http://nymag.com/scienceofus/2015/01/very-easy-to-implant-false-crime-memories.html

About Karen Traviss:
KT
New York Times best-selling author Karen Traviss is a former defence correspondent and has also spent way too much of her life around politicians and police. Going Grey, the first in her new techno-thriller series, is out now and the sequel, Black Run, will be published this summer. Website and newsletter sign-up: www.karentraviss.com Twitter: @karentraviss

Why We Need to Write the Military Right: Part One

A guest post by Karen Traviss.

preview_concept_Black Run copyNobody wants to be the guy who said Krakatoa was east of Java. As storytellers, we know we need to get detail right if we tether our stories to the real world.

I had a colleague in my TV days whose early novels, written in time snatched between shoots, involved a trip to a certain building in Europe to settle an argument with his editor about how many steps there were in front of its main doors. It mattered to him; I understand that compulsion. I’ll spend an entire day doing research that ends up as one line in a novel. And even if you set your story on an alien world or in a fantasy universe, there are hard facts – human behaviour, physics, or just a consistent world – that mean you have to do at least a minimal amount of research. It might not involve doing obsessive surveys of public buildings, but it has to be done. Mistakes aren’t just embarrassing; they can also derail your story if a key plot point you’ve relied on turns out to be impossible.

In our quest for technical accuracy, though, we can overlook more fundamental authenticity, the stuff that can shape and distort opinion in the real world. While misplacing Krakatoa is annoying, it isn’t going to influence what the audience feels about serious issues. But feeding people a steady diet of stereotypes and errors about a topic can embed an attitude that people carry with them into their real world opinions. That affects a lot of different groups, but it’s especially true of public perception of the armed forces.

Like it or not, fiction does seep into the public consciousness through constant exposure, and once it’s there, it’s hard to filter it from reality. It takes root where people have no personal experience of a topic to tell them that the fiction they’re absorbing is factually wrong, and it creeps up on even the smartest people. I’m not talking about using daft phrases like “Over and out” (which is meaningless, as “over” is the opposite of “out” in radio procedure) or having characters call sergeants “Sir.” I mean the fabric of what it means to serve and to fight – the attitudes and experiences of the soldier.

Should that seepage worry us as writers? I’d say it ought to. If people are forming opinions on defence and foreign policy based on fiction, we should attempt to do no harm, and doing no harm requires some work on our part. The armed forces aren’t the only sector of society that can fall victim to “false memory” opinions, but servicemen and women are unique in that we expect them to be willing to die for us as a fundamental condition of their job. No other workers, not even police or firefighters, have to accept death as a definite possibility in the same way. So we owe those who serve a duty of truth.

A few months ago, I watched a TV discussion that was a perfect example of fiction shaping someone’s perception of what our armed forces should do in the real world. It was a round-up of the day’s news stories, with celebs and other non-experts passing comment. One studio guest was furious that nobody had deployed helicopters to rescue refugees in a war zone. She seemed unaware that in this particular case, the distances and conditions meant it wasn’t physically possible. She thought she knew what helicopters could do, and was no doubt sincere in her outrage, but nevertheless she was utterly wrong. The studio anchor was equally ignorant and the debate continued without any input from someone who could say, “Actually, there’s no way we can do that, because… “

So why did they think they knew the facts? Where did they get their unrealistic ideas on helicopters and logistics of evacuations? I’d bet my pension fund that they’d absorbed some kind of pseudo-reality from TV and movies without even realising it. It wasn’t because they were stupid. It was because they were human and the gap in their knowledge had been filled by the nearest available data, provided by years of watching impossible feats performed in movies.

Few civilians in the UK or North America these days have any direct contact with service personnel, however supportive we think we are of our troops. Our forces have shrunk over the years, and there’s no conscription. Soldiering has become the career of a relatively small number of volunteers. But a couple of generations earlier, things were very different. In World War II, every British family had a direct link with combat and its consequences. Either someone in your family was serving, or your friends and neighbours were, and as a civilian you were subjected to multiple air raids and years of strict rationing. If you compare British war movies from the late 1940s and early 1950s to modern ones, they’re much more technical; producers couldn’t get away with mistakes because their audience knew the subject. They’d served or they knew someone who had.

There’s now a growing disconnection between the military and civilian worlds, and it’s not been entirely discouraged by governments trying to head off objections to foreign wars. These days, with our omniscient Hollywood perspective, we think a soldier has the same perfect awareness of a situation as the camera, and so we think we know that they ought to have done. Civilians make judgements, moral and tactical, without any real awareness of what it’s like to serve, let alone fight, unless they’re prepared to put in time watching documentaries. But even then factual programming can be variable in accuracy. I’ve seen historians locked in bitter arguments over events that were taught to me as established fact. If we can’t even rely on history, then finding a gold standard for military authenticity isn’t easy.

The best we can do as writers is the same as the best I could do as a journalist; we can talk to the primary sources, the men and women who’ve lived through it. Even if they don’t agree on everything – and there’s no such thing as a definitive view of a battle – they’re the nearest to the truth we’re ever likely to find in this world. The detail will vary from country to country and between branches of the services, but there are some things that are common to everyone who’s served. Those are the truths we need to seek and portray.

I was a news journalist for 20 years and spent ten years in PR for government organisations, so I formed a detailed picture of where people got their information and what influenced their thinking. Now that I write fiction instead, I treat it like a hazardous material because I know it has real consequences. It’s sobering to think that I might have imparted more understanding of military life to my civilian readership as a novelist than I ever achieved in my time as a defence correspondent. It’s even more sobering to think that understanding has been based mostly on SF, where the technical detail can as unreal as you want to it to be. The reality lies in honest depiction of the mind-set, sense of comradeship, and basic soldiering skills that would be as familiar to a Roman legionary as they would to a space marine with a laser weapon.

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Visit the Fictorians tomorrow for Part Two.

About Karen Traviss: KT
New York Times best-selling author Karen Traviss is a former defence correspondent and has also spent way too much of her life around politicians and police. Going Grey, the first in her new techno-thriller series, is out now and the sequel, Black Run, will be published this summer. Website and newsletter sign-up: www.karentraviss.com Twitter: @karentraviss

How to Write Conflict When You’re Afraid of It

I hate conflict. Okay, arguments can be constructive, I’ll give them that. I hate it when they turn nasty. And I really hate fighting. I’ve seen it and it sickens me. Yet conflict, confrontation and fighting are staple tools in storytelling.

So what happens when you’re a passive, a person who tries to avoid conflict, but you know you have to write it, to face it so you can tell a good story? There are five things you can do to overcome your fear of writing conflict:

1) Don’t be afraid of yourself
If you’re really honest about it, it’s emotionally painful to feel what your characters feel and most of us don’t like experiencing the dark side of ourselves. Writing coaches, like Donald Maass, ask questions that force you to dig deep into your own psyche and then they ask you to apply that to your character. It can be freaky and unnerving but it’s definitely worth it. When I do this, I’m always aware that I’m doing this to extrapolate information, and that fiction is fiction and not real life.

2) Don’t be afraid of your readers
We’re all told “write what you know”. Does that mean that if we write about a cruel character that we’re cruel people? Or, that if we write about a weird aunt in conflict that we’re making a statement about a relative? Certainly not, although you may hear “so that’s what you think of me!”

“Write what you know” doesn’t mean having personal experience on the matter or that a character is a direct reflection of someone we know (although it could be). It means that we do our research well so that we don’t resort to stereotypes. Just think, if we had to write by that rule, then there wouldn’t be any historically based fiction. This adage can also get you into trouble. A writer friend confided that she understands parental conflict when it comes to a males but not females. She had a great relationship with her mother and fought with her step-father. Hence, she has to take great care to ensure that all her stories aren’t about females in conflict with males and that females in conflict appear genuine.

3) Know that it’s okay to cause trouble
Throw out the socialization, normalization rules you’ve learned. It’s okay to be mean and it’s necessary to cause trouble, get people (your characters) into trouble. It’s important for your characters to feel pain, experience anguish, fight hard for what they want. As readers, we want someone to cheer for, a way to safely experience conflict, and experience the catharsis of conflict overcome. Readers want that and as writers, it’s our responsibility to provide that. The greatest gift I received when I started writing was permission to be cruel to my characters.

4) Overcome your lack of experience with conflict
You’re a nice person and have avoided conflict all your life. What does it look like? What is it like? How does a person in conflict feel? Why would they react that way instead of hiding? The trouble is, that when we don’t understand conflict or the ramifications of being in conflict, it’s too easy to fall into stereotype cliché’s about a situation.

Avoid the stereotypes by realizing that conflict arises from different people wanting different things, and doing things differently. People are NEVER in perfect agreement. Know your characters well enough (their history, perspective and motivation) to take on their persona . Know how they’d respond in certain situations and why. Research the effects of stressful situations on the body and people’s reactions, research martial arts, fighting, war and its effects on people. Talk to people – other writers, people with direct experience, or experts. Read historical accounts, biographies, blogs and forums where people discuss their situation. Understand how life stages affect goals, motivations and responsibilities. For example, parents may perceive potential harm if a teen goes to a party whereas the teen may be oblivious to that and desperately wants wo be with her friends. Research will help you get a feel for the issues and how people have reacted in similar circumstances.

5) Know why you’re telling the story
There must be a reason for telling the story. The character must be overcoming something for some reason, otherwise, there isn’t a story only a vignette. If you have an audience for vignettes without conflict, that’s great because not everyone likes conflict. Otherwise, give your character a chance to learn and grow, to fight for something important. Conflict is about overcoming a problem. It’s not about taking the easy way out which can be done in one paragraph. Are you going to dash through the poison ivy or leisurely walk around it?

Conflict is a part of story structure. Who is the protagonist? What does he want? What is he willing to do to overcome the obstacles to get what he wants? What are the consequences of his actions because not everyone wants him to get what he wants? What is he willing to do? What will he actually do? Is he doing the right thing for himself or for other people? Doing the right thing is very hard to do.

We all strive for happy, peaceful, fulfilling lives yet we all experience conflict every day whether it be with a stranger, a loved one, a friend, or if we are troubled by something. How do we get through conflict? How can we write our character through it? Motivation. Your character, just like you in real life, has to be motivated to stand up for what’s right, to fight for the goal, to change his world so he can become who he wants to be and to live the life he wants. Writers are motivated to write the story, to overcome the internal and external conflicts and challenges we face in order to tell a tale. We must give our characters the same opportunity to face the challenges, to live their story so they can experience and overcome the conflicts no matter how big or small they are.

Now that I understand the role of conflict in story, I look forward to creating the situations and seeing how characters handle them. Doing the research, delving deeper, thinking it through – I love that process and the resultant richness it adds to the story. Conflict is its own character with its own personality, twists and depth.

The best way to write conflict when you’re afraid of it is to throw yourself into its path and find a creative way out of the situation. After all, that’s what we make our characters do!

Happy writing.