Tag Archive: fiction


Cutting Room Floor: Forty One Winks

Hey everybody, Flobo here!

AS you may already know by now, I write for a living. Currently it’s not the only thing I do for a living but one of these days it might. Some of my stories end up being published; some others, not so much. Here is a story I wrote for a Halloween post on my old (defunct) blog. It’s kind of violent/edgy/noirish so proceed with caution.

Forty One Winks

insomnia_sleep

I could hear the screams through the paper-thin walls of my apartment. My neighbors sounded like they were getting it on like the newlyweds that they were. I didn’t mind; there was something novel about living through a happy couple vicariously, especially since I hadn’t had an honest date in months. Still, as the big red LED display of my alarm clock beamed a time a little after four in the morning, I wished they had picked another night to get so close to each other.

I paid for it that morning at work. I came into the office a zombie, fielding customer service calls as I daydreamed about heading home early to have actual dreams. My boss must’ve felt sorry for me, as he let me off early to do just that. Stepping into the long corridor of my apartment building, admiring the twin rows of doors and the carpeted floor that joins them, I slid my key into the last door on the left, and readied myself for bed, forgoing dinner that afternoon. After taking a warm shower and putting on my most comfortable pajamas, I buried myself underneath the layers of sheets and comforters, taking a deep sigh when I reached my destination. I had just gotten into that no-man’s land between sleep and awake when I heard a moan coming from behind my bedroom wall.

“No no, not again,” I heard myself say.

The moan, which sounded female, bellowed again, this time longer than the first. I’ve heard of people who wanted to be intimate all the time, but I hardly found it normal. Even though I at first tried to ignore it, I just couldn’t get comfortable knowing that an air raid siren of pleasure was going to come through the wall again.

Then the moan became a scream.

Shooting up out of bed, I shuffled my feet into a pair of slippers and headed for the door. I was just going to go over there and ask that they tone it down, realizing that I may do nothing but anger the couple. Heading out into the hallway, I tried remembering their names, but my mind was drawing a blank. I knew the fellow was cyclist and that the lady had silver-blonde hair, but beyond that was a void in my mind where my memory had failed. No matter, I thought to myself. Any bet after I talk to them I would be their worst enemy anyway.

I stopped short when I got to their front door and realized it was ajar. This I found odd, beyond the regular general security reasons, it also didn’t much leave room for privacy. I knocked on the door as it swayed under the force of my knuckles.

“Hello?” I asked.

“Yes yes,” the voice of a woman who had obviously been crying has said. “I’m in here.”

Against my better judgment, I slowly opened the door all the way to find my neighbor, silver-blonde hair and all, tied to a chair in the middle of the living room. Her face was bruised, and the piece of cloth that hung around her neck appeared to be a gag.

“Oh my gosh,” I said, with the afternoon sun’s rays coming through her blinds and falling onto my pajamas. “Are you alright?”

“No,” she said. “You have to help me. Please untie me.”

I raced to the chair, kneeled and tried my hardest to untie the large knots that had her pinned.

“What happened?” I said. “Are you hurt?”

“You have to act fast,” she said. “He’s coming back.”

“Who?” I said.

“My husband,” she was breathing heavy now. “He did this.”

“Why would he…”

There was a large thud on the front door. Her husband stood in the doorway, with a small sledgehammer-about the size of his forearm in his right hand. He was a lot bigger than I remember—taller too—and he didn’t look particularly happy. There were long red streaks that ran down his arms. It looked like fingernail scratches.

“What are you doing?” The man said, stepping into the apartment and slamming the door behind him.

“She—she wanted my help,” I managed to say.

“No, I didn’t,” the woman shrieked. “I told him I was OK, but he wouldn’t listen.”

The man took two large steps and now towered over the both of us, causing me to stand and meet him face to face.

“She says she’s okay so you can go,” he said.

“She’s been hurt,” I said. “I’m calling the police.”

There was a brief moment of silence between the man and I as tears began to well up in the woman’s eyes. I shot a glance over to her as she whimpered, and then I felt an enormous pain in my stomach. I glanced down to see the miniature sledgehammer coming from its temporary home in my abdomen. I doubled over in pain and fell to the ground in a heap when I felt the broad side of his weapon collide with my temple.

My vision was hazy now, and I struggled to breathe. The man dropped the sledgehammer some inches away from my head. I didn’t have the energy to grab it, but I watched him untie his wife instead. When she was free, she gave him a kiss on the lips.

“That was fun babe,” she said. “Now it’s my turn to tie you up.”

I let out a wheeze as I felt the trail of blood seep down to my cheek.

Cutting Room Floor: The Roundtable

Hey everybody, Flobo here!

2013 is here and not only have we survived the Mayan Apocalypse, we survived everybody talking about the Mayan Apocalypse. Everybody wins, right?

This year I do have a list of goals I would love to get accomplished and I will discuss them as the weeks go on, but I figure I share another short story with you today.

You see, sometimes when working on my last collection of short stories “The Indelible Silverstreek“, I realized I wanted to go out of short story writing with a bang. For the record I still love short stories, I just realize the market likes their tales longer is all. So with the objective of closing out some stories with sequels, I also wanted to present some of my finest work as well. The story you’re about to read now, “The Roundtable” was one which I liked in concept, but I could never make the whole piece “ring true”. Something was missing. Maybe the concept needed to be in longer form, or maybe it needed to be abandoned I wasn’t sure. What I was sure of is that it wasn’t right for the Silverstreek collection.

“Eh,” Flobo said while shrugging. “It happens.”

High-Flying. Soul Searching. His name is Eli St. Rose

High-Flying. Soul Searching. His name is Eli St. Rose

The Roundtable 

“So there I was standing over the guy,” Jack said laying back in his chair. His audience of another man and a woman were listening intently over drinks at the sole table in the room. “He’s begging, pleading for me not to pull the trigger. Poor bastard, the last thing he ever did was piss himself.”

Jack ended his story with a hearty laugh as he took a swig of his beer. He was a hulking man, who kept his physical appearance in tip top shape, despite being north of forty. His smile planted a patchwork of wrinkles on his face, his teeth were large and slightly crooked. The basement the trio were in was dark, with a sole lamp that hung from the ceiling. As Jack waited for words of admiration, he was a tad disappointed when his story was met with resounding silence.

“Aw come on,” Jack said. “That story was great. A grown ass man pissed himself. He went out like a bitch.”

“And you find that funny?” The voice of the other man spoke up.

“I do Devlin,” Jack said. “That a problem?”

Devlin, a gentleman clad in a suit and wearing a bowler hat, crossed his legs while he put the butt of a cigarette in an ashtray. He was commonly mistaken for being an Englishman—though he grew up in a suburb outside of Chicago—but he always took the label as a compliment. He spoke with a slow rumble, like a man who would be more at home at shareholder’s meeting rather than a dank basement.

“No no,” Devlin said. “It’s far from a problem. Although I would be remiss if I didn’t note that the only reason why the ‘poor bastard’ as you say only saw you was because you were sloppy. My targets almost never see me.”

Jack chortled as he took another sip of his beer. He shuffled his feet, the soles of his combat boots rubbing against the thin layer of grime that was on the cold stone floor. He swallowed hard, and slammed the bottle back on the table.

“Anybody can take someone out a rifle from a hundred yards away,” Jack said. “I prefer to do my job a little hands on. Like a real man. Then again, you wouldn’t know anything about that.”

“No need to be catty,” Devlin said, taking another drag of his cigarette. “I’ve gotten my hands dirty on many occasions. Although, I can say I don’t relish such situations.”

“You?” Jack couldn’t contain himself. “What happened? Somebody steal one of your fancy schmancy pocket squares? Give me a break.”

“You laugh,” Devlin said. “But allow me to tell you a story. That is, if you are willing to hear a tale that doesn’t involve urine.”

Jack gestured his open palm at Devlin in a motion that said “be my guest”. Looking over to the blonde woman to his right and getting a nod of approval, Devlin cleared his throat. He took off his bowler hat and placed it on the table, removing the harsh shadow that had been floating over his eyes.

“About three years ago, I was supposed to do a job in Detroit,” Devlin said. “The name was Curtis Dempster, the city councilman who was running for mayor at the time. He was leading the polls and there were a lot of people who thought he was a shoe-in for office. Now, I don’t have to tell you that you don’t become the frontrunner for anything by playing by the rules. Dempster made some enemies, most importantly my client. Long story short, by the time election day rolled around, there was supposed to be a dead man on the ballot.”

“How dramatic,” Jack cackled. “So let me guess. You were on a rooftop, looking down at your mark through the barrel of a sniper rifle.”

“Why yes. At least that was the plan at first,” Devlin said crossing his legs and fixing his tie. “Dempster was going to have a rally outside city hall. It was a bit of grandstanding to show the public how he would fit at city hall before he was elected officially. I don’t quite peg myself as a man a politics so the intent sailed over my head.”

Jack leaned back in the chair and folded his arms, “Get on with it. I don’t have all night.”

Devlin cleared his throat. “I assure you this tale isn’t terribly long but if you are going to carry on I might as well end this now.”

“No,” chipped in the blonde. “Keep going.”

“See, at least the lady has patience,” Devlin smiled. “I was on the rooftop while Dempster was giving his speech. Whatever rhetoric he was spewing might as well have been caviar to the crowd. His words came to a crescendo, and then there was the applause. Loud and boisterous, I almost succumbed to his charisma. He was that good. Anyway, knowing that seemingly the whole world was watching, I lined up my shot. Thing is, by the time I pull the trigger, Dempster was already on the way down. My bullet caught him in the leg. Not only did someone get to him first, I got to keep my bounty.”

“What happened?” Jack asked. “The client got cold feet and hired insurance?”

“You said Dempster had enemies,” the blonde quipped.

“Indeed,” Devlin said shifting his hat on his head. “I didn’t lose sleep at all that night quite frankly. A score is a score.”

Without hesitation the blond jumped to her feet, drew a semiautomatic pistol from her side holster and planted two bullets of her own into Devlin’s chest. Falling out of his chair, Devlin’s bowler rolled to a stop next to his body, sopping up the ever growing stream of blood. Jack staggered back into his seat, his usual even temperament gave way to heavy breathing, nervous shriek.

“What the hell was that for?” Jack yelled. “Jesus”.

“You heard him yourself,” the blonde said. “He didn’t do the job and he collected. He was wrong if he thought his client wouldn’t have found that out.”

“Because his client is your client?” Jack asked.

She nodded. Taking a step closer she fired once more into Jack’s leg. The force sent Jack of his chair as well, sending him to the ground. Clutching his wound, he writhed in pain.

“The guy in the suit was business,” she said, pointing the gun to Jack’s head. “This is pleasure.”

“What-what are you talking about?”

“I used to have a fiancée,” she said pulling the trigger. “They found him covered in his own piss.”

  ***

What do you think? Please comment below.

And if you’re n the mood, check out my book “The Indelible Silverstreek“, over at Amazon.com or your favorite E-tailer today!

Silverstreek Lands In Stores!

Hey everyone, Flobo here!

Well, here it is! Two to three months ahead of schedule, I present to you, my latest literary work, The Indelible Silverstreek!

It is my third (and final) collection of short stories and my fourth book overall. Check out the tracklisting table of contents:

1. Tortuga Key: A Florida Getaway*

2. Charlie’s Car Wash

3. Meet the Parent

4. Coney Island

5. The Thing About Lady Luck

6. Santiago and the City

7. The Indelible Silverstreek

8. Legacy*

9. Progeny*

10. Lineage

* Denotes previously published.

Because I concluded the “Legacy Saga” with Lineage and furthered the adventures of Tortuga Key resident Manny Skye, “Legacy”, “Progeny”, and “Tortuga Key: A Florida Getaway” (featured within the pages of the books “By The Ounce and Other Tales” and “Mass Transit“) are included as a bonus!

Consider it my greatest hits! I mean, you don’t HAVE to, but it would be nice if you would! :-]
The Indelible Silverstreek contains multiple genres. From the “superhero” genre of the title tale, to the noir world of “Santiago and the City” straight to the feel good urban fable of “Charlie’s Car Wash”, this volume truly has something for everyone.

If you were ever on the fence about checking out my work, now is the time to do so. You get some of my old stuff, a truckload of some of my new stuff, and it won’t set you back more than a couple of bucks. Win-Win!

Again, I cannot be more excited. Check it out, and tell a friend!

–Flobo

The First Draft Is The Worst Draft

Hello everyone, Flobo here! (As always)

Today I want to talk to you about something that I’m sure you’ve heard (or read or seen) people talk about when discussing writing/music/drawing/any creative endeavor. That is, revision!

Most amateur writers don’t do it enough and most amateur writing bloggers talk about it ad nauseum. You know, somebody blogs about how it’s important to the writing process? Well, if you didn’t know that (or worse, you thought your stuff was soooo good the first time) then maybe there’s a bridge in Brooklyn I can sell you.

It's a hundred bucks. But for you? A hundred bucks.

If you’re like me, you know that after you finish a manuscript draft, you are going to have to go back into it at some point. At the same time, I am as motivated to do that as much I am motivated to clean my room when I know no one is coming over. Let me tell you, as a bachelor, that’s not a lot. When I was film school, nose deep in the nearest Avid Media Composer (film editing) terminal, my Editing Teacher would say “Remember, the first cut is the worst cut.” I’ve appropriated that to my creative works wholesale. There are some tricks I come up with to help motivate me into the editing phase of writing, and I want to share some of them with you:

1. What’s the rush? I’m assuming most of you are independent writers so you don’t have the big bad corporate imprint inflicting you with due dates, so take your time.  The last thing you want (at the most basic level) is to finish a manuscript only to be utterly mortified when you notice spelling errors later on. Oh, and from my experience never rely on just one person to read your work either. It’s okay to make mistakes in the drafting stages, so milk that for as long as possible. It’s a luxury that some careers do not have.

Did somebody order a massage?

2. Go Old School. When I’m writing more long form stuff (like my novels), I almost always HAND-WRITE the first draft. People think I’m nuts and I sometimes agree, however the best part of doing that is that it FORCES you to write a second draft when you transcribe your work to a computer. We tend to type a sentence at a time, so for me it’s a cool way to see what phrasing works and what doesn’t.

3. Reeemixxx! This past year I was trying to write a novel in the YA mold about a superhero (long story short [quite literately], it’s going to be  short story, now). Anyway, I loved the character, but hated his backstory. I can make a blog about how sometimes backstories write themselves but that’s for another time. So I was kind of stuck of where I wanted to take the character. My solution? I put that story down, and I pretended I was commissioned to write “the sequel”.  This way, I could start a brand new adventure, and only refer to the character’s backstory as necessary. This is really effective across a lot of things I’ve written. Leaving the original story you’ve written in favor for a virtual “prequel/sequel/spinoff/alternate POV” can be heartbreaking, but it’s the first step to streamlining your storytelling skills. I found this tactic also works with serial killer characters. Going through a book about how a serial killer became one could be fascinating, or it could be needlessly dull. A book that has the serial killer in the forefront with sprinklings of backstory could help free up your manuscript for other things.

4. Hire Yourself. This one requires a lot of self-discipline and I wouldn’t recommend you doing it all the time, but sometimes a quick swift kick to the pants is what you need. Take away things that matter most to you and only return them until you write a certain amount a day.  For me, I either unplug the Internet from my computer, or refuse to go out to eat until the work at hand is done. This method is also gimmicky, as it seems that this tip would appear on any ‘ol “beat writer’s block blog” but it is in my bag of tricks.

Or quiver of trick arrows.

As always, keep writing. Remember,  “The first draft is the worst draft.”

As for the superhero story goes, if there’s interest, I can go into more detail of the trials and tribulations with that. Let’s just say the whole thing has reminded me of the Transporter series in that an awesome character is being saddled with a story that needs tweaking.

Uh-Oh, Here Comes The Police!

You don’t have to look far if you are in the mood to watch a cop show on television or  a hard-boiled adventure flick. Police procedurals are everywhere, and even though the name implies that the show should lean on the boring side, it looks like the sheer amount of them are not going away anytime soon.

 

 

I'm actually *puts on sunglasses* immortal... YYYEEEEAAAAHHHHH!

 

But why?  Why are police procedurals (and by extension regular cop dramas and mysteries) so popular, especially on the small screen? It’s no secret that mystery is my favorite genre so maybe I can provide some insight.

First and foremost, your audience can PLAY ALONG. Mysteries are like a roller coaster rides in that everyone jumps on the same starting point and everyone has the same ending point, but the audience is down to “enjoy the ride”. The more pretzel loops and corkscrew turns (as written by twists and red herrings) are completely up to you, but that is what makes it fun for the writer. As for the audience, there is a subconscious sense of justice when they witness your protagonist haul away the suspect to jail. It is as almost they were “deputized” and did their part for justice.

 

 

But you don't get a gun. Sorry Charlie

 

Police procedurals are what I like to call “The Great Sandbox” for writers. I can’t think of a formula (Crime—Witness—Apprehend Suspect—Interrogate Suspect—Make Arrest) and character archetypes (Broken Veteran Cop, Wide-eyed Rookie Cop, Overworked Police Captain, Ignored Spouse of cop) that are so well-worn like the police procedural genre.

 

It kind of reminds me when I had a big toy box when I was a  kid. My parents didn’t buy many new toys often, so when it was play time, I had to make up new games with the toys I had. My silver toy Ferrari was just a car but one week it was a racing machine, the week after that it flew and shot lasers out of his canon. There was no changing the shape of the car (after all it was made out of diecast metal) but I got to bend the rules in order to make playtime fresh.This subgenre is no different. A broken cop who is corrupt and sold secrets for cash, is a lot different than the broken cop who buries himself in his work because his/her spouse died. You get to play with the classic permutations and computations of character traits and relationships while all the while there is a crime that needs to be solved in the background.

 

Look, humans are by nature curious animals. We know this. There is going to be a need for fictional sleuths for a long time. If you have some extra time between projects, why not banging out a mystery short story? If you’re like me, you’ll enjoy keeping your skills sharp, and if you are a first timer you’ll enjoy the change of pace…

 

–Flobo

Pick Your Genre

Pick Your Genre

Okay, so you’re sitting at home watching a cheap movie you got from a Redbox or a discount Wal-Mart bin. Your stomach churns because the flick you’re laying your eyes on is simply horrible. The story is so second rate, you say. You tell yourself “I can do better than this, are you kidding me?” (Sidenote, if you’ve NEVER thought that, than maybe this article isn’t for you.)

So you decide to try your hand at writing a script (or create the source material in general), and you have some ideas, but you just aren’t sure what avenue to take your story in. Well, one of the first things you got to think of is deciding what genre your new “bomb-ass screenplay to the extreme” is going to fall into.

Of course generally speaking, the two major genres are comedy and drama. I’m not telling you anything new here. You should also know that all stories are essentially drama, and the execution of the premise/story/plot determines whether or not it’s a drama or comedy. I’ve used this analogy before, but we are all conceived female, for example. (True Story. It’s the reason why men have nipples). Later on in our prenatal development we are assigned a gender and we come out of the womb either male or female. But if you’ve ever scrolled down the aisle of a Best Buy or Target (or Blockbuster, if you’re old school) you know there are way more genres than just the aforementioned two. You have romantic-comedies, you have action-adventures, you have westerns and war. You also got science-fiction, fantasy, thrillers and mysteries. The possibilities are endless.

Most aspiring career writers, usually somebody who either gets contracted to write something or someone looking to make writing a career, tend to write according to popular trends. The process is pretty simple: Basically find something that’s in the zeitgeist and craft your story around that. The problem with this method is kind of obvious. If it’s in the zeitgeist, (or the pop culture fabric if you will) a lot of people are going to have the same idea. It’s sort of like going to a baseball game. If the team you came to root for is down by seven runs in the eighth inning, I can imagine thousands of people having the same idea of leaving the game early to “beat the traffic”. And of course as the cruel irony of mother earth would have it, you’re stuck in a traffic jam even before your sorry team even leaves the field.

If that’s too theoretical, imagine this: From the year 1998 to about 2009 the whole world was smitten with vampires (again). You had your “Blades” all the way up to your “True Bloods”, “Twilights”, and “Moonlights”. Now, of course we as the American public has been engrossed in vampires before, “Bram Stoker’s Interview with the Vampire,” “My Best Friend is a Vampire” and “Near Dark” come to mind, but never before have we tried tinkering with the mythos with vampires so much. It was close semblance to the Western genre. Westerns were one of the last “pure genres” in that you knew who the good guys were and who the bad guys were. It was as American as a slice of apple pie. The Spaghetti Western and Revisionist Western movements came and changed all that. Now every Western that graced the screen since are riddled with anti-heroes with ambiguous moral compasses, living in a world that can be easily called “less than desirable”. A far cry from the romanticized view we had of the Old West in the 1950s (film) or the 1930s (comics).

A more immediate problem happens when two different works have a similar story/plot or themes. This happens more in Hollywood than anywhere else, but who could forget movies that come out within months of each other having a similar story? (Think “Armageddon”/”Deep Impact, or “Dante’s Peak”/”Volcano” or “Finding Nemo”/”Shark Tale”).

I know this this is totally off topic but I am “Shark Tale” fan myself.

The second method, or the more “idealized” method is to write what you know, or what you are more comfortable with. You lived in an inner city where crime was part of the daily life? Maybe your crime story would be a stronger entry than the one written by the upper middle class film school graduate (zing!). You say your doctoral thesis was in underwater exploration for rare jewels? Well then, your great American Novel would feature a character that does exactly that (wiki: Dirk Pitt). This is a safer method in a way because you are more familiar with the genre’s conventions (or “rules” the genre plays by) but it leads itself to some problems. One, it’s very easy to stray off course. What I mean by that is, if you were the guy with the doctorate in that exploration mumbo jumbo, it’s very easy to have a character or a plot point be bogged down with needless information or exposition. “The Da Vinci Code” was a prime example of this. There are entire chapters where the action stops and the characters drop information to each other. Then again, it’s a best selling book so what do I know? Another problem is that of your audience. There are very few authors out there that create just for themselves, the crazies. You eventually are going to have to have an audience to at least make your work relevant if not profitable. You can know all there is to know about red beans, but your action thriller about trying to genetically engineer black beans into red ones can fall on deaf ears if your audience just doesn’t care.

This is a problem that affects Sci-Fi. A science fiction writer wants to create a certain world but the movie execs feel that children under 18 and women (the people who spend the most at the movies) aren’t going to dig it. So what happens in the land of show business? That’s right, creative compromise. I’m singling out Hollywood here but it happens everywhere. Now, your space tale about a guy trying to leave his home planet to be become an intergalactic bounty hunter has a lightspeed spaceship chase and a romantic subplot to maximize potential viewers.

Oh, and I’m not going to stand on a soapbox and claim “creativity is dead”. Ever since the world has had artists, they have been starving and are usually forced to create things against their natural will for their clients. It’s an evil of the profession.

Or to paraphrase the old saying, “It ain’t called show art, it’s show business.”

There is a balance between the two methods. Find something that is needed in the marketplace, but don’t jump into a segment that is over saturated. This also holds true for non-fiction too. For a time period in the 1990s during President Clinton’s…er…extra-circular activities, there were books coming about him regularly. Things were going good—new authors came to the forefront, fading authors got some extra shine–but then came the backlash. The American people were ready to move on and you soon found books in the subgenre filling out discount bins at the local Kmart.

And you and I both know that nobody goes to K-mart.

Happy Writings, yo!

–Flobo

Character Vs. Story

Hey yo!

Are you a creative person? Of course you are. Everybody is special in their own way. Or so that’s what they told me in kindergarten. Anyway, you creative people you, let me you ask you a question. Have you ever thought to yourself about a great idea for a movie/book/sketch/ballad? Did you ever put that idea into action. If you want to submit your idea to the pantheon of All Things Awesome, you are going to have to write it down. I’m serious here. An idea “in your head” is as good as the paper it’s written on.

Okay, okay. So you have your idea and you are going to write it down. Now what?

Flobito.com Presents: Character Vs. Story

During my three year “tour” of film school, the one thing the emphasized the most was story. Without a good story, your film (in this case) would be dead in the water. Romeo and Juliet for example is one of the most adapted stories of all time.

A solid story will take your audience along for the ride with them wanting to see how the story ends. For example, in my second book,“Mass Transit”, the short story of “The Groomsman” was every story driven.

I was at a wedding a couple of years ago where I was a groomsman. While standing around with a wool suit on a very muggy wedding day, I said to myself that I felt like I was some sort of bodyguard, always in the bridegroom’s photos like I was his protection. I wondered about the situations in which a bodyguard would have to protect a groom at a wedding and that evolved into the finished product of “The Groomsman,” a quirky dramedy…

In the finished product, city cab driver and husband-to-be Adam Colby witnesses a murder first hand by an unstable man who promises Adam that if he tells anyone about what he saw, he wasn’t going to make it to his own wedding day. Adam, taking a friend’s advice enlists the help of Drake Howell, a bodyguard with his own quirks.

The summer blockbuster “Inception” seems to be very story driven, because the characters in that piece are just props. That’s right, I said it! Boo me, suckers! Anyway, the point I’m trying to make is that if you give your creative idea a solid story foundation, you can go places.

However, the other side of that coin is to start with your character first. Before I explain that, I would like to say that both character and story are not mutually exclusive, you can excel at both.

Character centric stories tend to be more personal, as fully fleshed out characters tend to alienate people who disagree with the character’s principles sometimes. This is totally fine, because frankly people have their own individual tastes. But if your audience roots for your character (as in the protagonist/hero or antagonist/villain) they’ll support the story, even if it is weak at parts.

In my first book, “By The Ounce And Other Tales”, the eponymous story was about an unlucky-at-love guy named Perry who got rejected by the girl of his dreams and…..

Let me just stop right here for a moment. How many of us have been rejected by someone they liked? That alone would have people jumping on your bandwagon. It’s the reason why people like Michael Cera have careers people. Anyway,

…totally giving up on life he meets a traveling salesman named Lou that offers poor Perry an aphrodisiac that is sure to change his fortune. Now, “By The Ounce” was really a character piece about not so much the loser Perry, but the Lou, the traveling salesman. In the story, he claims that human emotions are not “feelings” but chemical reactions and that he sells synthetic replicas of said chemical reactions….wait for it….By The Ounce.

Lou (Named Lou C. Offer in the first couple of drafts) is actually a send up to life coaches and dating doctors that populate the American zeitgeist. You see I, like maybe some of you, have bought self-help books and dating books in order to help me with confidence. Confidence is something you can’t realistically get from a book as it comes from within. These dating gurus are in fact selling something that you already have. Shrewd, no? So using that as a character base, Lou became an experiment about what kind of person would actually sell human emotions (something we’re all born with) back to humans for a profit.

There’s a story there, but the ‘story behind the story’ is learning about Lou and his desires/drives/motives.

Thinking about a situation (story) or person (character) are both strong ways to start your creative endeavor. Don’t think you have to be locked with one or the other either. Mix and match and find the right balance for you.

Oh, and when you write your screenplay/novel/song/web series, I’ll take a finder’s fee.

Just kidding……..Sorta,

–Flobo

Writing

F.Flobo Boyce is making a name for himself with his unique and engaging storytelling style. His collection is available at amazon.com, as well as other retailers and e-tailers worldwide.

By The Ounce And Other Tales

“Extraordinary people doing extraordinary things”, is what “By The Ounce: And Other Tales” has in spades. In this collection of short stories, newcomer F. Flobo Boyce runs the gamut of adventures and the characters that make them legendary. Discover the life and times of Dr. Melody Livingston, as she unearths the story of a previously undiscovered pre-Columbian tribe in “Legacy”. Laugh along with the sarcastic Steven Decker, as he and the local Public Safety staff attempt to protect a small island community against an oncoming hurricane in “Tortuga Key: A Florida Getaway.” Marvel along with the unlucky-at-love Perry Waterhouse, as he meets a mysterious stranger who sells a “foolproof” aphrodisiac “By The Ounce”.Though the short stories are charming, the included book of poetry is the true bonus for fans of the spoken word. Across forty pieces,Boyce mingles life, emotions, and fondness for far-off destinations with an unrivaled passion.”By The Ounce: And Other Tales” is collection that has something for everyone.

Purchase:

Amazon.com
Barnes&Noble.com

Mass TransitMass Transit

Like how a city is home to the stories of its denizens, the collection “Mass Transit” is home to the stories of the characters that dwell within its pages. There’s Douglas Gerrard, a man who confronts his past in the crime drama “Manhattanhenge”, or the skittish Adam Colby, who has an unusual way of handling his problems in the comedy “The Groomsman.” The resourceful Dr. Melody Livingston gets more than she bargained for when she accepts an archeological assignment in the adventure entitled “Progeny”, and charismatic Maxwell Sullivan learns the power of teamwork in “Negotiations”. Author F. Flobo Boyce explores his fascination with family dynamics and urban settings throughout the tales of “Mass Transit”. All aboard!

Purchase:

Amazon.com
Barnes&Noble.com

High Desert Run High Desert Run: A Neo Western

Welcome to Silverside. It’s a town populated by guns, outlaws, fast cars, and women of the night. To mild-mannered Angeleno Jethro Nabers, it was only supposed to be a pit-stop on the way to a Las Vegas business trip. However due to circumstances beyond his control, “Jett” is stranded in one of the most treacherous cities not on any map. Miles from home and at his wits’ end, it’s going to take more than middle-management experience to get out of Silverside alive.

Purchase:

    Amazon Kindle Store

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