Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Art often imitates life. In searching for stories and ideas, they often come from real life. Real people, events, situations, whether from the author’s life or from others’ experiences, make excellent soil to plant story seeds in. Sometimes the real story is told through the lens of fiction with fictional names for people and places (known as a roman à clef, or novel with a key; film à clef for movies), which allows for stretching of truth a little more. Yet this calls into question how close to the truth should a writer stick. What’s more, how will the people upon whom characters are based react?
If characters are not composites but primarily based upon specific individuals, there is a risk they might not like how they are portrayed, especially if it is in a negative light (such as caricatures, a technique used by a fictional writer in the mystery shows Magpie Murders and Moonflower Murders who wasn’t a good person). Ernest Hemingway has been accused of antisemitism due to the character Robert Cohn, based on his contemporary Harold Loeb, in his roman à clef, The Sun Also Rises. As revealed in Ken Burns’s program, Hemingway used people’s real names in his first drafts, but he changed them so as not to be sued.
If people’s real names are used, even if it’s just the first name, the risk is even greater that they will be forever associated with the fictional versions. It was true for Peter Llewellyn Davies, Alice Liddell, and Christopher Robin Milne. Even aliases in nonfiction/memoir can be viewed negatively, as it was with Donald Sinclair and the family of Fritz Pfeffer, respectively, over “Siegfried Farnon” and “Albert Dussel” in All Creatures Great and Small and The Diary of Anne Frank, or if unflattering names are used for fictional characters.
Then, of course, it’s not just themselves but those they care about, and trying to say counterparts aren’t the real people may not matter. William Randolph Hearst not only disliked that his life was the main inspiration for Citizen Kane, but he also hated how the counterparts to his mistress Marion Davies and his mother were depicted. He used his influence to sabotage the film’s box office success.
Of course, when telling a fictional narrative with fictional names, one can always claim plausible deniability. Plus, hopefully most people won’t mind, especially if the writer is on good terms with them. Nevertheless, it is always something to bear in mind when fiction is drawn from reality. There is a boundary regarding fact vs. fiction, and it should be taken into account when crossing it.
Many thanks to Melissa for this opportunity to talk about my books and my writing!
Telling a Story Well: An Interview with Andrew McDowell
This is my second time appearing on the Merry Writer Podcast, which is hosted by authors Ari Meghlen and Rachel Poli. Many thanks to both of you!
You can also listen to it on Podbean. There are many other places you can choose from to listen to it as well.
I wish all my fellow Americans a Happy Independence Day tomorrow.
Years ago, I talked about the influence of Joseph Campbell’s The Hero with a Thousand Faces (one of my recommended resources), and how I saw Mystical Greenwood as the Departure phase in the hero’s journey. Thus, I planned for Beneath the Deep Wave to be the next phase, known as the Initiation. Likewise, I sought to look for little ways to stand out from the traditional storyline.
The “Road of Trials” is most prevalent in this phase, so I knew there would be a lot of traveling like in the first book. However, when I look at both books together, in terms of plots spelled out in another resource I recommend, 20 Master Plots and How to Build Them, I see Mystical Greenwood more of as an actual “Quest” story whereas Beneath the Deep Wave is much more an “Adventure.” The seeking more aligns with what the book refers to as the MacGuffin (made famous by Hitchcock). It makes sense, I suppose, since the Trials are meant to prove the hero’s worth.
I knew going in also that Beneath the Deep Wave was going to include romance, so this would tie in more with the “Woman as Temptress” rather than “Meeting the Goddess,” as I’d imagined Dermot might be faced with a dilemma: would his love compromise his vows to his magical order? Then, of course, there’s the “Atonement with the Father.” By the end, I don’t know whether this is a combination of “Apotheosis” and “Ultimate Boon,” but in some ways, akin to Dan Brown’s The Da Vinci Code, I thought about physical vs. symbolic treasures, in this case tying them in with the elements and the natural world. I shouldn’t say any more, for fear of spoilers.
I’ll end this post by saying that the last phase, the Return, will be and is an inspiration for the plot in last book in One with Nature. Happy Father’s Day!
Imposter Syndrome is something that’s been discussed many times by writers, and it is something that I wanted to talk about. Like so many others, I’ve been a victim of this. It’s a vicious cycle of looking at stuff I’ve done, hearing others praise it, and it all feels empty, like it isn’t really that good, or not good at all. At such times, I convinced myself that what I have done, what I’ve written, wasn’t worth the merit it’s received.
Typos have been a big source of that, more so because I began overanalyzing everything from word choice to sentence structure, even formatting. I decided I needed to change some internal formatting factors like margins and font size before Beneath the Deep Wave was published, and for the sake of consistency, to change them in Mystical Greenwood as well, resulting in a roughly 40-page deduction for both. It seems Mystical Greenwood was destined to have a checkered history, similar in some ways to films that have had decades worth of production behind them.
Another example of this feeling happened when, in recent years, I’ve seen books appearing on Amazon with people who have the same name as me, such as an academic book by an anthropologist and a short memoir by a British man discussing a traumatic childhood. At times, as a result, I’ve regretted not choosing a pen name or what I referred to as a “writer’s name,” meaning a different way to write my name.
Yet at the end of this regret and anxiety, every time I am reminded why I didn’t go that direction. My full name, Andrew Michael McDowell, is long, and there was a writer named Michael McDowell (not my dad). As for Andrew M. McDowell, well, because of the sound with which the letter M ending and beginning a name being the same, when said aloud, it’s as if they fuse and can’t be differentiated. Plus, before I became a writer, I’ve always introduced myself, and signed my name, as Andrew McDowell. And, at least, I’m currently the only Andrew McDowell in the Poets & Writers directory.
As for errors, well, I must remind myself that you can always fix them; everyone’s been printing them forever. I made the decisions I made which, at the time, were the right ones. Judging them by what is happening at present only causes anxiety, unless we can learn from them. But I cannot fault those decisions for being the right ones at the right time. At least I have let go…for now. Besides, imperfections show that I’m human, and if I look at famous movies and TV shows with goofs, continuity errors, etc., those haven’t prevented them from having the cultural impact they’ve had.
Worrying about things I’ve done is ultimately meaningless. I know I should be proud of all that I have accomplished. I am not perfect, nor do I need to be. I need to see both the trees and the forest. But still, sometimes, I worry. I’ve tried to be more positive, but I’ve not succeeded yet. I guess it means I’m learning and that I care. But I also cared enough about myself to know that I needed to let go of chasing perfection and just be happy. I still need to work on self-love. It is apparent to me that something I write someday could not be as favorably received (like Charles Dickens experienced with Martin Chuzzlewit), but I hope that won’t stop me from trying better next time. The key is to let go and move on.
I’ll be at a local author showcase sponsored by the Maryland Writers’ Association next week at Savage Mill. If you’re going to be in the area, I hope you can stop by.
Recycling is something we’ve been told since childhood is vital for protecting our Earth, and I don’t dispute that. Today, however, I want to talk about another kind of recycling, one which may serve writers well, especially if they are suffering writer’s block. This is literary recycling.
And no, I do not mean recycling entire plots or characters. Definitely not. That would be counterproductive. Every writer, in my opinion, ought to strive for something different in every project. Recycling entire plot structures or character arcs would not only be boring for readers but also indicate to them that the writer isn’t showing any growth in their art.
What can you recycle literary wise, then? Scenes, scenarios, passages, anything that will not simply fit during the editing process. This was something I first discovered during my long and checkered history of writing Mystical Greenwood. New scenes were written, and some were altered, characters removed, names changed, etc. All for the sake of pace and telling a better story. That left some passages cut through different drafts, ones which I simply couldn’t fit back into the story. But I liked them. I didn’t want to simply trash them.
Instead, I used some of them as starting points in Beneath the Deep Wave. And you know what? The same thing happened again! Some bits were moved around, and a few would no longer fit within. So I’ve decided to simply use them again, but this time for the third One with Nature book. A few others were also saved for other projects that I thought they would work better in. They simply would require a few tweaks, such as changing names or other factors to accommodate different settings and structures.
It’s a good feeling to not entirely throw out some words you’ve written, especially when it might be possible to fit them into a different puzzle, perhaps even better that what they might have been before. The only other thing I would caution is be careful not to inadvertently use the same plots or plot elements over again. When I first started my pets mystery in college, at some point I realized I was using some similar elements to my fantasy story. I knew I had to make some changes.
Don’t forget that Beneath the Deep Wave is coming out next month! One another announcement: I have reopened my social media accounts on Twitter/X and Tumblr, with the same usernames as before. It wasn’t an easy decision, nor a light one. I remember leaving them for the sake of my mental health, and in the former’s case, it hasn’t had the best reputation, especially since its rebranding. but I am also aware that I did gain followers and readers/reviewers on each. Hopefully, I will be able to use them now wiser than before. So, if you were following me there before, you can do so again. Don’t forget about my other sites as well.
To all my fellow Americans, I hope you had a happy 4th of July yesterday.
A lot has been happening over the last few months. First off, this week I gave a presentation on word and page count for the Maryland Writers’ Association Frederick County chapter. I meant to record it for my YouTube channel. Sadly, I did not. Oh well. Maybe I’ll do that next time I give it.
For those of you who’ve followed me for a while, you may remember me discussing this topic before. For those of you who haven’t, here’s that post:
Kindle and Nook preorder links are now available for Beneath the Deep Wave! The latter is also on Goodreads!
Sally Cronin featured another of my blog posts from last year in her Posts from Your Archives series. Thanks, Sally!
A new poetry anthology is available featuring six of my poems, courtesy of poets Robbie Cheadle and Kaye Lynne Booth, who not only featured me but also allowed me to discuss my experiences with poetry as part of their Treasuring Poetry blog series a year ago. Many thanks to them, and also to Merril D. Smith for featuring a video of me reading one of my poems, which I’d written in college, as part of the anthology’s blog tour.
Check out my Poetry page for purchase links!
It is a question every writer is asked at some point in their careers: “Where do you get your ideas from?” It’s become a cliché, really. Still, there are others out there suffering from writer’s block who feel their well has gone dry, so to speak. Or perhaps you’re in the middle of an ocean of ideas and don’t know which fish to bait for. Well, I’ll elaborate on some familiar answers, which in my opinion aren’t always suited for every situation.
Write about what you know.
This has been said a lot of times, and it is logical. You’re pretty much guaranteed to do well with ideas you are knowledgeable about. The situations and experiences from your own life can help provide a far more solid base upon which to build a story. Such examples can include professional experiences (Jeremy Lloyd drew on his experiences working in a department store for Are You Being Served?) or places you have visited or lived (Stephen King’s stories are often set in his home state of Maine or in Colorado, where he went on vacation once he was financially able to do so). Then there are personal hobbies and interests, which leads to the next point.
Write about what interests you.
Writing about what you know won’t be enough if passion isn’t in it. It will show in your writing if passion was absent. Interests and hobbies are a great source of ideas because the writer can share those passions through stories and perhaps spark interest in readers. Plus, your passion can compensate because you will compel yourself to drive and learn more about your passions/interests in order to write a better story. Bram Stoker spent seven years writing and developing Dracula, and he never visited Romania, where a good portion of his book his set. He drew on research and his own imagination.
So perhaps in the end, perhaps you need to draw on a combination in order to make a blend. And in my case, certainly, I need to remind myself to not stress over it, which I admit is still hard to do. I must keep hope that ideas will come, especially when I’m not looking for them.
Back when I did my first blog post, I talked about what I called the “Misery Complex” (in reference to Stephen King’s famous novel), and how writers’ and readers’ wants can clash. Granted, not all fans are crazy and obsessive about authors and fictional characters, like Annie Wilkes, but there is no denying that once a story is out there, it can touch so many people in individual ways in that they feel a special connection. And as they become attached to fictional characters, it’s still important to consider their feelings. Or isn’t it?
I’ve noticed this especially in drama and TV shows, like Downton Abbey and Game of Thrones, with fans theorizing and predicting where the story and subplots will go or could’ve gone, along with characters, and expressing their upset when things don’t happen in a certain way. The latter is especially true when characters die, don’t end up together, or character growth just vanishes. To be fair, with killing characters, writers cannot always be hated and blamed the way they have been, especially in drama, when actors decide they want to leave and pursue other projects. It’s not always easy to explain a character’s absence once the actor leaves. There may not be actors in books, but still, it’s easier to put unwarranted blame on writers.
It’s true not everyone has a happy ending, and sometimes one bad turn can in the end lead to a good one, but is there a line that ought not to be crossed? I certainly cannot argue how upsetting it is when a story seems to building something or someone up only to not lead there at the end. When there’s an anticlimax to anything from a story line to a character arc to a romance, it is usually disappointing. I sometimes find myself imagining (not always in great detail) where things could’ve gone in a story where I felt writing was lazy. That’s what’s lead to a number of fans writing fanfiction.
But at least there’s one point on which writers and readers can agree: stories and characters matter, as does what happens to them. Nevertheless, they originate with the writers. I said in my importance of names presentation characters are the children of an author’s imagination. Well, the same can be said of stories as a whole: an author sires them, and then they venture out into the world. That’s why I firmly feel the author should have the final say in what happens in his or her work, and I’d hope readers would respect that.
But I’m not unfeeling towards readers. After all, writers seek out the opinions of others in beta readers and critique groups while they are developing the story. So yes, readers can have input, and sometimes fans’ suggestions can ignite a spark in the writer’s imagination when they can’t figure out where to take the story next (even if it isn’t what readers specifically want), especially within a series. So, in conclusion, they both matter. Readers’ opinions should be considered, but the final decision belongs to the writer alone.
P.S. I want to apologize for the inconvenience for those who saw this post in advance a few days ago. I meant to schedule it at a different time and clicked the wrong button. This was not intentional, but given the post’s subject matter, I can’t help but feel the irony. Happy Holidays!