The Psychokinetic by Grace M. DeLeesie is Book 1 in her The Day Twelve Witches Burned series. If this first book is any indication of what’s to come, I might hesitate in reading the sequel books. There are many, many typos, missed words, and misspellings; the whole story is told, rather than shown; there is a lot of head hopping. But the biggest problem was an inability to suspend disbelief. I just couldn’t buy into the odd responses and behaviors of her characters.
Overall, the story line is a good one. Six teenage girls find themselves with extra-sensory powers which normal teens just don’t have. They feel they have been led to find each other, and they’ve bonded to form a tight knit group, who look out for one another, while they search for evidence of who or what they are. And before the first book is finished, we learn that there also exists an evil nemesis, who has followed them through many lifetimes, intent on destroying them. Which, is all pretty cool.
I spoke with the author, Grace M. DeLeesie about my concerns with this story, and she admitted she had some problems with a previous editor. She assured me many of the problems are already being addressed and a revised text will replace the current version. I have to say, I really like the story line, although it could have been written better. I still can’t buy into the story or its characters, but with the author’s assurance that at the least, the grammatical errors and typos will be corrected, I feel comfortable giving The Psychokinetic three quills.
Nonfiction as Catharsis
So I’ve been trying to decide what my next major writing project will be, and my mind keeps circling back to the last couple years of my life. I’ve had a crazy run of things recently, and like any writer worth his salt, I’d like to capture these events.
Primarily I’m a fiction writer. I could probably disguise all this stuff and get a halfway decent novel out of it, but something’s telling me the true circumstances need the kind of veracity one can only achieve through nonfiction.
It seems to me many short story writers and novelists shy away from nonfiction. Perhaps the truth hits them too close to home, or more likely, it’s out of their purview. Which is fine of course. Nonfiction sells to a completely different segment of readers, different publishers, different literary agents. It may not make sense for an author to skew into a different genre altogether. In fact, some might see it as a waste of time.
But there is one thing nonfiction has on your average novel or short story, an element of the art form that has nothing to do with craft or overall viability. Not everyone deals with incredible, tragic, surprising, or uplifting events in their lives. Some people are born to breeze through this existence, though perhaps these people are fewer and farther between than we might otherwise surmise.
For the rest of us—for those with the linguistic and artistic capability to do something about it anyway—telling our personal stories can be extraordinarily cathartic. After all, psychologists have long advocated journaling as a means of self-healing. Writing about the key events which have shaped us can be both uplifting and enlightening, and it can help us make sense of an otherwise threatening or chaotic world.
Some might argue that the leap from journaling to penning an entire memoir leaves quite a bit to be desired. Only authors think this way, I suppose: “Well something terrible happened to me today. Guess I better write it down and try to sell it.”
The truth of course is that one needn’t publish such material in order for it to be of benefit. Good stories exist everywhere, and the will to look at yourself and your life unflinchingly is a skill more people should cultivate. I can only speak for myself and my recent history, but if I never told my own story, if it just receded into the background of my mind, only to resurrect itself in moments of repose and contemplation years later, I know I’d be doing myself a disservice.
The world of creative nonfiction is wide. Write about societal injustice, pop culture, the plights of your friends and neighbors. Tell stories that reduce the global perspective to something more personal, and in so doing, help us understand ourselves better.
Or, conversely, write about things only you know. Consider it an act of good will if nothing else. You’re doing this for yourself, and there’s not a damn thing wrong with that. Recognize, however, that you may uncover things you’d have otherwise preferred hidden. Know Thyself; is there anything scarier? Is it perhaps more dangerous to remain ignorant? If you’re so inclined, only time will tell.
Contained in every human life is the seed of expansion. We are not static beings, but nor are we entirely free to pursue our futures unhindered. Rather, many of us (if not most of us) find ourselves chained to our pasts. If I were to actually sit and pay attention to my thought processes throughout a single day, I’d likely discover I think about my past way too much. I’d likely also discover I tend to dwell on all the negatives, all my mistakes. Truly, we can never go home again, so why is it my mind is hell bent on constantly reminding me off all the crap I’ve done?
The truth is most of us don’t want to forget. We feel this unconscious pull to relive and recycle, even when it means the here and now is distant and vague by comparison. Perhaps we do so because we worship our identities, the classic psychological concept of the “ego.” These otherwise random events, if they were fully revealed to us, they’d make a mess of our flawed and often one-sided self-conceptualization. Recollecting rather than looking forward is commonly a hindrance, especially when all you’re really doing is reopening old wounds. I think this is me more often than not, though I have no way of knowing if it is also you. Imagine getting your story out, putting it down on paper, reading it, understanding that past is past and that there are certain things you don’t need to hold onto anymore.
Now extend your imagination a bit further. What would happen if you recognized your story could help others, too? Maybe you’ve learned from your experiences. Perhaps you could help prevent others from falling into the same pitfalls as you.
All of this is not to suggest everyone needs to write a memoir and sell it. You might say, “But, Jeff, my story just isn’t interesting enough. And anyway, it’s nobody’s business but mine.”
Which is fair enough. Some might also suggest attempting to profit from personal struggle is the opposite of altruism, and in fact, borders on exhibitionism. This attitude, it seems to me, comports with a general unease and discomfort with getting too close to the truth, which is another way of saying digging down deep on a personal level makes some people squeamish.
My writing mantra has always been if it’s worth writing, it’s worth reading. Write your story under a pseudonym, or in a pinch, write the damn thing and then bury it in your sock drawer. But as you’re doing so, do me a favor and look inward. Notice how you feel different, perhaps a bit freer. Recognize that in telling your story, you’ve performed a neat bit of alchemy. Maybe we can’t turn lead into gold, but through nonfiction, we can transmute pain and tragedy and allow them to release us.
If all else fails, write because your story is both unique and universal. I mean this. If in a hundred years all that could be said of us is that we strove to understand ourselves, that in itself would be a minor miracle. Don’t be afraid to quest. Maybe the answers you’re looking for can help your readers, too. Anything and everything is possible, right?
Interested in my writing? Check out my latest short story collection, Fear and Loathing in Las Cruces — https://www.amazon.com/Fear-Loathing-Las-Cruces-Stories-ebook/dp/B06XH2774F
Smothered by B.T. Clearwater is a paranormal romance that readers won’t want to put down. Paranormal and romance plot lines are skillfully woven together with well developed characters and just a dash of mystery, to create a well-rounded story that draws readers in and doesn’t let go. Smothered is currently offered in a limited print run, as well as in digital format.
Annie and Mark are two hot messes who belong together. They both have crazy exes, who they can’t rid themselves of; both have issue that need to be resolved; and both need someone they can lean on in the low times. They’re the perfect fit for one another, but between their exes and Annie’s manipulative dead mother, they may not be able to see the rightness of their relationship. They must find a way to overcome the obstacles before them, or risk being forever “smothered”.
An engaging story, well-developed and likable characters, multi-dimensional plot lines – Smothered has everything a good story should have. I give it five quills.
Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.
As rare as it is these days to find a truly well written horror story which draws the reader in and gets a grip, Something Borrowed, Something Blue, by DeAnna Knippling was a pleasant surprise. This novelette gives off a feeling that something ugly lies just below the surface, something that we can’t quite see, but the feeling says that the situation will not end well, and in that we are not disappointed. In the fashion of classic horror, this story makes readers want to say, “No! Stop!” even when it’s clear that events have already been set in motion and there is no turning back.
Sometimes being prepared isn’t the best policy, especially when you’re faced with something no one could be prepared for; something unimaginable that makes the skin crawl, yet demands action. Something Borrowed, Something Blue makes a connection with readers because it’s a situation they can place themselves in, if only in the dark recesses of their minds. Sometimes, that’s where the monster’s dwell which we fear the most. The story’s resolution may leave readers with more questions than answers. This is the kind of story that makes you think, maybe for a long time, after you read it.
Something Borrowed, Something Blue is a well-crafted tale that honors great story telling tradition by capturing readers and not letting them go until long after they’re finished with the story. I give it five quills.
Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.
In last month’s memo I talked about ways you can use flashbacks in stories and it led to a discussion about flash forwards and a request from Kaye that I do a post about them, so I decided to focus on the difference between flashbacks and flash forwards. I’m going to primarily use films and TV shows for examples as the film/TV examples are easy to visually show what I mean.
(Disclaimer: I don’t own the rights to any of these video clips or shows. I apologize in advance for some of the quality of the clips but they were the only ones I could find at times. Many of these shows mentioned are on Netflix, so I recommend watching there if possible.)
A flashback is almost any moment when a story jumps from the present time of the story to show you something that happened in the past. It’s not just talking about the past, but actually showing the events that happened. The flashback can be just a quick glimpse, or it can be a very long section of the story.
Flashback Example 1 – The Usual Suspects:
This film opens with the explosion on the ship and then moves forward to Kevin Spacey in the police station being interviewed. When he starts telling the story of how all the “usual suspects” were rounded up the film flashes back to show this happening, and the story continues in the flashback time period until the end of the film when we return to Kevin Spacey in the police station again.
Flashback Example 2 – Forest Gump:
This one is pretty straightforward that it’s cutting to a flashback. Forest is in the present moment talking about things that happened in his past from his childhood to adulthood, and we constantly hear his voice over and see him in present day on the bench talking about his past.
Flashback Example 1 – Breaking Bad Season 1 Episode 1:
Again, we start in the present time where Walt is crashing the RV and already cooking meth, then we very clearly jump back after the opening credits several weeks in time to when he was a normal school teacher. The main story of this first episode is all flashback with the opening and ending being the present moments.
Flash forwards are tiny glimpses of the possible future within a story. Basically you get a glimpse of the future and then return to the present afterward. This future glimpse doesn’t have to be true, and it doesn’t HAVE to happen, it’s just a glimpse of what COULD happen and the audience has to keep watching to see if it does.
This technique is often used in stories involving anything with psychics. The key is the events haven’t happened yet, and may never happen depending on how the present continues to unfold. It’s a glimpse of the potential future, but the story is still taking place in the present day and will return to present day once the future glimpse is over.
Flash Forward Example 1 – The Dead Zone (film)
When Christopher Walken shakes Martin Sheen’s hand he gets a vision of the potential future. We see clips of what Martin Sheen may do, but we don’t know if it will happen or not because it hasn’t happened yet, all we know is that it’s possible to happen. Once the flash forward is over we return to the present moment where Christopher Walken is.
Flash Forward Example 2 – Scrooged:
When Bill Murray leaves the elevator he gets several glimpses of the possible future he will encounter if he doesn’t change his ways. Again, these are all brief flash forwards showing potential future moments. It’s a little different because it seems like Bill Murray is in the flash forwards, but he has no ability to change them while he’s there so it’s still a flash forward to a potential future if he doesn’t change his ways in the present.
Flash Forward Example 3 – Terminator 2
When she lays her head down, Sarah Connor has a dream vision of the future if machines are allowed to get out of control. This vision is a potential future and is the motivation for her to try to stop this outcome with her actions in the present.
Flash Forward Example 4 – FlashForward TV Show Season 1 Episode 1:
This episode actually has a flash forward AND a flashback in it. I’ve started this clip right before the flash forward moment where the protagonist gets a glimpse of his future and then wakes up after the accident, but if you scroll back to the very opening of the episode you’ll see that the story starts with the accident, then there is a flashback to 4 hours earlier leading up to the accident again to show what caused it (which was actually the flash forward). Are you confused? I know, it’s a lot.
The flash forward is the glimpse of the potential future that the main character may experience at some point later on, and then you return to the present moment. The opening sequence at the start that shows the accident is NOT technically a flash forward because it’s not a glimpse of the future, it’s where the story is NOW. Then we flashback to 4 hour earlier to see how we got there and how the accident happened.
Flash Forward Example 5 – Sherlock Holmes (film)
This fight scene is a type of micro flash forward because it tells us what will happen moments before it does, even though it’s in verbal form. It’s more of an abbreviated flash forward because it’s verbal and it’s similar to how flash forwards are often used in fiction. The narrator gives the reader a glimpse of what will be to come, but we’re still in the present moment of the story where it hasn’t actually happened yet.
Distinguishing Between the Two:
Most of the time it’s pretty easy to tell whether something is a flashback or a flash forward because it’s in the middle of the story and the story either jumps forward or back for a short time before returning to the present. However, the one area that seems to cause the most confusion is when the flashback or flash forward is used immediately at the opening of a story. Is the story starting in a flash forward? Is the main story all in flashback? What is happening? To figure out whether you’re seeing a flashback or a flash forward, think about where the scene is currently taking place and where the protagonist is in the present.
If you look at the openings of Forest Gump and Breaking Bad, both are happening as we watch and we’re not seeing a future possible event, we’re seeing the events as they happen to the protagonist, then we (the audience) jump back to see how the protagonist got to that present moment, but all of it has already happened and the protagonist is still in the present at that opening scene waiting for us to catch up to him.
Flash forward scenes are events that have NOT happened yet, and may not happen, and when they end we are returned to the present moment where the story is taking place and the protagonist is currently. Everything between that present moment and the future event we saw has not happened yet, and may not happen, but that is why we’re watching to find out. The present moment may eventually lead to that flash forward moment, but there’s no guarantee.
One of the few times a show can open with a flash forward is if it opens with a psychic event such as a dream or prophecy where we get a glimpse of what may or may not happen before a character pops awake or something and reveals it all was a vision or dream. Then the rest of the show builds to reveal whether it is something that is going to happen or not.
Neither Flashbacks nor Flash forwards:
There are a few other story methods that some people confuse with flash forwards and flashbacks but one of the main ones I want to mention is time travel such as in the Back to the Future Series. This and other time travel stories are tricky areas because it is easy to say we’re flashing back because we’re going back in time, but that’s not true in most stories I can think of.
A flashback involves looking back at past events that have already happened exactly as the person remembers them happening, while most time travel stories involve a character physically going back to these past events such as Marty does, and having influence on those events. This makes it not a flashback because Marty has the ability to change things if he does something wrong. That means the events aren’t set and aren’t just a memory of what happened, they’re fluid and changing. Flashbacks are memories of what happened prior to the present so they can’t be changed unless someone is misremembering something or lying. Marty is physically there and it’s his present time even if he’s physically living in the past, and he can make mistakes (and does) that change the future, so it’s not a flashback.
The other thing I wanted to point out is that just because a story goes forward in time doesn’t mean it’s a flash forward. A flash forward is a glimpse into the future but it doesn’t move the story TO the future. When your story jumps forward in time to a future point, if the story continues from that point on and isn’t just a glimpse of that future time, then what you have is a forward time jump and not a flash forward.
Every now and then you’ll see someone define those opening scene moments where we start the story at a major event as a flash forward because it shows a “future” event and then immediately goes back in time after to where a huge chunk of the story takes place. But these stories that start with a major event and then go back in time almost always say something like “x time earlier” which establishes that the first scene is the present time period and everything afterward is in the past, making everything after that opening scene a flashback.
Ultimately, if you’re asking “what happened to get us here?” then you’re probably about to see a flashback to find out. However, if you’re asking “what WILL happen to get us here?” then you’re watching a flash forward and you will return to the present to find out as events unfold.