Writers in the Storm

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Dubai - and a Writing Lesson

by Fae Rowen

Okay, I never wrote about that Middle East trip to Dubai, Egypt, and Jordan.

There were reasons, okay?

Today, I'm prepared to tell you about my four days and three nights in Dubai.  On my own.  Well, with my friend who has long, naturally blonde, hair. The only Arabic phrase I learned was the translation for, "I'm her maid."  I figured if we got kidnapped, that might get me released.  So much for friendship and loyalty.

In a previous blog, I wrote about the preparations for the trip: shots, visas, plane and hotel reservations for the farthest away trip I'd taken up to that time.  I'd planned to blog and send pictures with my newly-purchased iPhone.  That obviously didn't happen, but I did end up with an over $600 phone bill for roaming charges from every cell phone company in the Middle East.

A friend told me that Economy Class on Emirates was like Business Class on any other airline.  Yana is a world traveler who speaks five languages fluently and racks up over a hundred thousand flight miles a year.  We flew non-stop to Dubai on Emirates. Seventeen hours.

She lied.  I'd thought we were in a two-seat side row.  Worse yet, we're in a three-seat row and my friend had the middle seat (she's short and has a skinnier rear) and I had the window.  The aisle seat was occupied by a non-English speaking elderly woman who, we discovered halfway into the flight, went through my friend's stowed bag while we slept or went to the restroom.

How did I discover this?  While my friend was in the restroom, the woman picked up my friend's backpack and started taking things out of it and stuffing them into her pockets.

"Stop!" I said.  She ignored me.  I got everything but the shoelaces back.  My friend and I watched videos on the seatback screen and took turns sleeping and restrooming after that.

I had panicked about taking supplements into Dubai.  Well, we arrived, paid the entrance fee, and were waved through the customs station. No one looked at our bags.  Not even sideways.  Nobody was in line by the time we navigated all the windows we had to go through and corridors we'd mistakenly wandered.

At least we were in Dubai and not in jail.

We arrived at our quaint hotel in the Bur Dubai section of old, traditional Dubai.  The facade looked like something from the Arabian Nights.  Our doorman wore an Aladdin outfit.  I wanted to steal his shoes.

In the mornings we would walk around before the shops were open, deciding what we wanted to go back and see later.  We discovered the clothing and material souk, old-fashioned outdoor stalls and shops, and the Aladdin shoes!  The beautiful embroidered materials with golden patterns were stunning.  I vowed to return with an empty suitcase just for material.  And to take a sewing class.

We paid a penny to ride the abra, a wooden plank with two benches and a lawnmower motor that ferries people across the river.  We took a fancy cruise on the river, too. (They call it a creek.  It's no creek.  I used to be a lifeguard and I wouldn't want to try to swim across Dubai Creek.  It's the main port for that area of the world!)

One day we walked under the river to the gold and spice souks. Dubai is not really a walking city.

I'd thought I'd bring back some nice gold jewelry, but everything was very expensive.  Later I learned Dubai Nationals don't shop in Dubai.  They go to London, Paris, New York or Los Angeles to shop.  Only tourists shop in the amazing indoor mall-cities of Dubai.

We spent a wonderful afternoon and evening with Sally, one of Jenny Hansen's British friends who lives and works in Dubai.  She showed us the expensive hotels and the "Gold Coast" of Dubai.  The man-made Palm Islands and Earth Islands are amazing when seen from the observation deck bar of a nearby hotel.

Which brings me to liquor.  Dubai is officially a "dry" country.  However, most restaurants and hotels do serve drinks to tourists.  If you stay at a hotel for foreigners, you can stay on a special floor that has a "lounge" that has an open bar with as much free liquor as you can drink for two hours every night.  Convenient, because then you can stumble to your room with no problem.  If you're drunk going home from another hotel, you'll need the names of the lawyers the State Department supplies.  End public service announcement.

For such a tiny country, Dubai has lots of salt water reclamation plants.  In fact, Dubai uses more water per capita than any country in the world.  The gardens throughout the city and on the sides of the road are amazing.  They have more grassy lawns than my SoCal street.

Without oil, Dubai's rulers  have made it the shopping and vacation destination of the Middle East.  As such, there are things to remember.  Like, if it's Tuesday, women can't go to the beach.  And if it's Thursday night, the young people are at the mall to see and be seen.  It really was fun to watch the groups of young women and men circle each other without making verbal or physical contact.

We had been cautioned to dress very conservatively.  No uncovered shoulders, no shorts, and certainly no midriffs. (Like I show that these days!) Well, there weren't a lot of tourists from the U.S., but the European tourists apparently didn't get the dress code memo.  The shawl I carried in my bag everyday, "just in case" we ended up someplace that even our conservative Western attire was too casual, never got pulled out.  And I could have bought a much prettier one there.

Now, I've traveled all over the world for, uh, more than three decades.  And I've never felt like a second-class citizen anywhere.  I got to have that new experience in Dubai.

We'd been warned never to walk outside the hotel alone.  A Navy Captain told me that  a Western woman alone on the street translated into prostitute.  So my friend and I walked as if we were attached at the hip.

The first morning we were window shopping and walking.  A group of four suited businessmen approached us. As the Navy Captain instructed, we lowered our eyes and didn't smile and kept walking.  They took up the whole sidewalk.  We had to jump in the street because they got faster and were like four linebackers as they approached us.  We must have been invisible.  Dodging traffic outside of a crosswalk in a downtown setting is not my strong suit.

At an upscale market-restaurant in the world's biggest shopping mall we were the only ones in line to order and, you guessed it.  Two men came in and stepped between us and the counter (without touching us) and ordered.  They never looked at us or acknowledged our presence.  Neither did the girls behind the counter.  Invisible again.  We ate somewhere else.

So much for chivalry. That whole men-can't-touch-a-woman rule can be difficult sometimes.  Like when we were trying to get out of the abra.  The "boat" didn't pull all the way up to the dock and men just starting jumping off and others jumped on.  We weren't willing to jump three feet across the water from a moving boat to a crowded dock.  And no man would give us a hand, literally, to help.

Finally, the boat owner yelled, a lot, and bumped the boat against the dock.  Six men in the boat grabbed the cleats and motioned us out while the other men on the dock moved far away.  If someone had been filming, it would have gone viral on You Tube.

As a wanna-be princess, being in a country that has no chivalrous background gave me a lot of "fuel" for the fire in my current main character.  I'd never felt like a second-class citizen and now that I can personally relate to that down-trodden anger, my character can resonate from her core in her struggle to build the life she wants.

I guess I'm going to have to throw this one to the "Write What You Know" crowd, because I couldn't have touched her boiling hotpot of emotion without these experiences.  Laura, Jenny, and Sharla commented on the first chapter draft that "She's so angry" and "Why does she have such a temper?"  Until I "got" the why, I couldn't motivate her temper at the level necessary to ensure the reader didn't think of her as a spoiled brat.

Oh, the steri-pen worked great!  We had all the purified water we could drink.

Egypt--Alexandria, the Giza Plain, the Nile River Cruise, and the private jet (oh, yeh, rock star, baby!) next time.

Have you traveled to Dubai? Did you have different experiences? Share them with us!

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Too Quick To Tears: Emotional Timing Is Everything

A Big Writers in the Storm Welcome for Our Guest Blogger today, Tiffany Lawson Inman (also known as NakedEditor). 

Mark your calendars because Tiffany will be sharing her knowledge with us the last Friday of every month, starting TODAY!  Yeah!

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            Writers are always told to show, show, show!

            SHOW emotion.

            SHOW visceral reactions.

            SHOW emotive body language.

But we aren’t always taught when or how much. This is almost MORE important than the showing itself.

Have you ever read a book where the characters are too quick to tears? Or they are too quick moving from decision to decision. Was it believable? More importantly, did it keep you interested?  Readers need to marvel at the character’s ability to stay strong. And readers need reasons to root for their character. Who is going to root for the crying-at-every-challenge character in the corner?

Nobody!

Can you imagine if Scarlet cried buckets after every obstacle thrown in her way in Gone With The Wind?  In Hunger Games, what if Katniss made the decision to save her sister and then proceeded to cry when anyone mentions her home, family, or sisters.  If we wrote our characters like this, readers wouldn’t have characters to root for.  Let alone, a plot worth its dramatic weight in publication gold.

It’s a thin line to walk when thinking about your characters. So many of life’s elements test our strength and push vulnerabilities.

  • Frustration
  • Love
  • Loss
  • Guilt
  • Hate
  • Death
  • Happiness
  • Panic
  • Jealousy
  • Fear
  • Embarrassment
  • AND THE LIST COULD GO ON!

These are the very tools we use to create drama.  And yet if we let them rule, our go-to reaction is usually to cry.  So, when is the right moment to let the flood gates open?

When your character has done everything BUT cry.  Of course it is different with each character, plot, and genre – especially YA,  yadda yadda.  I am saying for you to let us see the struggles, up hills, smacks in the face, and bombs.  And let us watch your character flounder a bit before the first tear rolls down that cheek.

In the theatre, actors are told that the more a character fights the tears back, the further in your audience will be drawn. Actors are told that if they allow their characters to burst into tears during a dramatic scene the audience won’t be crying or emoting as much as when they get to watch the character battle the obstacle and finally be broken by it.  My director would say he didn’t want to see me cry, he wanted to see me try not to cry, it was more interesting.

And, turns out, he was right (of course he was right, he’s being nominated for Tony’s!)

Theatre and literature are very similar. 

Actors, writers, directors are pushing characters to the breaking point, page after page. Scene after scene. We can’t afford for them to be boohooing when they rip their trousers at the school dance, or at the sight of their dead brother when a killer is on the loose.

Can we?

No – we need them to act! What we don’t need is to see every single thought or feeling that goes through their head.

How much emotion should we show? Depends on where you are in the characters' struggles. Depends on where you are in the plot. One variable that is always the same: your readers want to have an experience.  So let the reader put the puzzle pieces together. Show your characters emotions through their actions, reactions, body language, and vocal cues. No spoon feeding allowed.  You can show sorrow without putting a whole heart on the table.

I’m a big list person when it comes to plotting, editing, characterizations, setting, etc.  Usually these lists start out with questions and end up with fleshed out details to plunk into your drafts.   It’s no different with emotional timing.

First. List your all of your characters obstacles from big to small. Or list them like the Thai place labels their curry  *wink wink*

  • Lost keys = timid
  • Lost job = mild to medium
  • Lost love and betrayal = medium to hot (depending on the extent of betrayal and who it was with)
  • Loss of loved one = medium to hot (depends on how death occurred)
  • Lost security: kidnapping, torture, battle between good and evil = hot to sweaty forehead hot
  • Loss of humanity: bombs, apocalypse, war = sweaty forehead hot to loss of sensation in tongue hot

Second. Look at your plot line.  Place the obstacle on the plot line. Now start asking yourself questions.  You might get an answer that makes you challenge where the obstacle is in the plot, or what it is.

  • How strong or how vulnerable is your character after each obstacle?
  • Where in the plot is it feasible that your character would have a breaking point?
  • Do you think it will deepen characterization and intrigue if your character is shown to become stronger after one of those obstacles?
  • Do you need to teach your character a lesson early in the plot so that they are better prepared to handle the obstacle towards the end?
  • Does what you are showing from the character strengthening the reader’s connection with that character?  Does the event invite sympathy? Or does it throw up a wall?
  • Are your characters reactions consistent with their character and each situation? (keep in mind with YA, this is a whole different ball of wax…)

I bet some of you are rethinking those tears in your third chapter, am I right?  Well, my intention was not for you to rewrite your WIP, but if these questions prod you to create a more realistic emotional timeline that gets you closer to publication, then I have succeeded!

Tell us a few of your life or character obstacles and how you chose to show the emotions to your readers.  Did some of the reactions catch you off guard? Or, just say hi!

Comment below and your name will be in the hat to win a free spot in one of my online classes offered through Lawson Writer’s Academy.

77 Secrets To Writing YA Fiction That Sells!  OR  From Madness To Method

Thank you so much for popping over to WITS today!  It’s an honor to be here.  In fact, I’m going to be honored to be here the last Friday of Every Month on WITS!  So, come back!  MUCH more to learn!

About Tiffany:

Tiffany Lawson Inman (NakedEditor) claimed a higher education at Columbia College Chicago. Here, she learned to use body and mind together for action scenes, character emotion, and dramatic story development. She teaches for Lawson Writer’s Academy and presents hands-on-action workshops. As a freelance editor, she provides story analysis and editing services.

For more writing/editing  tips n’ tricks: http://tiffanylawsoninmanisnakededitor.com/

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Throwdown Part 2: Write What You Don't Know

by Fae Rowen

When Laura Drake originally suggested this topic months ago  I knew I would be on the "don't know" end of the throwdown.  Everyone else at Writers in the Storm writes about what they know.  With Sharla Rae's historicals, she researches and researches until she has notebooks filled with information.  Jenny Hansen writes about people and things she knows, changing names to protect the innocent.  Laura writes about women going through life's trauma and coming out the other side, which she's done.  Very well.

Me?  I write about anything that interests me.  I write about unknown planets, alien species, space battles, and future societies.  Hmmmm.  Never been to any of those places and I don't have a time machine.  And I have no military flying experience where I've fired on other planes--or space ships.  Yep, I write what I don't know.

That's not what writing teachers tell their classes.  I can't tell you how many times I've been told to write what I know, that writing anything else is dangerous.  Yes, I never learned that lesson.

Let me tell you why I write science fiction.

•  If I wrote a contemporary, I'd have to have everything correct.  Fashions, cars, restaurants.  What if I had my characters eating poppers before they were invented?  Every reader would let me know.  As a mathematician I have this thing about being right not wrong.  Because in my "other" professional world if you're not right, you're wrong.  All wrong.  There is no gray.

•  If I wrote historicals, I would have to do research.  Now, I'm good at research.  Even extensive research.  But it's not my favorite thing to do.  For instance, I think the absolute best hero in a romance book is a Regency hero.  Give me a titled rake, or even a non-duke, and I can turn starry eyed and fall in love.  But would I ever try to write a regency.  Ha!

Regency readers know what houses were on what streets in Mayfair and every other part of London and the entire English countryside.  They know what dishes were served for every course of casual and fancy party meals.  I think they even know how to play whist.  They know their social history and if a writer transgresses on details, it's pistols at dawn.

• I've been through my share of life's travails.  It's not cathartic for me to rehash the journey.  I'm not good with tears, but I'm very good at forgetting how bad something was, so I just can't capture my angst and emotion on the page.

I write what I don't know.  I imagine a world and a couple of characters.  I imagine what the society on the world would be like.  Who can tell me I'm wrong, as long as the "rules" of the society are coherent and work for that setting and people?  Well, maybe someone.  Let me digress for a quick story.

When I was speaking at a conference about an activity from a textbook I co-authored, I talked about how I developed the lesson.  A man in the back of the packed banquet hall  jumped up and interrupted me.  "You stole that lesson from the textbook I use.  You're lying.  You didn't make it up."

After the audible inhale of the audience I asked him what textbook he used.  He waved it high above his head.  It was my book.  I told him I was one of the co-authors and thanked him for using the book and understanding my lesson so well.  After the session he sheepishly brought the book to the podium and asked if I'd autograph it.

I've never been part of a society made entirely of convicts.  I personally know only one white-collar felon.  But I'm writing a trilogy on their world.  How can I do this?

Well, I do understand what people need to survive.  And I can imagine what I would do when faced with having to fight for my sustenance.  Alliances, betrayals, codes of conduct, rituals, discoveries are all open territory for exploration.  As long as I can thread logic through the backstory that produced such a social climate, I can build a world that my reader can connect with and believe.  That means there are rules--physical and societal--which can't be broken, even if that might make my job as a writer easier.

Building those worlds and defining those rules--that's the fun part.  Want an alien native to your world?  Want it to be bigger than humans?  No problem.  Look at the other alien life on the planet and the plants and make a picture in your mind.  Make sure your creature has a food source and a habitat, possibly with one or both in conflict with the human population if you want another layer of tension in your story.

How did the people get there?  Why do they stay?  What is the level of their technology?  Oh, you can have fun with this one and make up all those cool tech items you wish you had right now.

As a kid I had to walk everywhere.  Long stretches of sidewalk.  I developed a whole moving sidewalk society before I ever read a science fiction book, just because I got tired of walking an hour to my piano lesson every week.

Do I know all the science behind any of my "inventions"?  Nope.  Not my job.  That's a fun project for the engineers. I like to think that writing about what I don't know allows my readers to use their imaginations to explore the "unknown" setting and society.  And to say, "That's cool.  I wish we had that now,"  as the story unfolds.

In my despair at being on what I perceive as the losing end of this throwdown from the get-go, I googled "writing what you don't know."  Surprise, a screenwriter has written a book on the topic.  Julian Hoxter’s book, Write What You Don’t Know,
is internationally popular and has been translated into Chinese.  Makes sense, though.  You may not have lived through the world's worst divorce, but you can imagine the emotions and possible situations, decide whether you want to go the dramatic route or the comedy route, and write what you don't know.  I could see that really working for comedy.

Screenwriters can't have lived through all the things they dream up for movies nowadays.  But they can imagine, and imagination is the bottom line for writing what you don't know.  "Imagination is the ability to form a mental image of something that is not perceived through the senses. It is the ability of the mind to build mental scenes, objects or events that do not exist, are not present or have happened in the past,"says Remez Sasson.  We've all got an imagination.  Think you don't?  Just spend an afternoon playing with a child.  You'll see.

Bret Anthony Johnston is the Director of Creative Writing at Harvard University.  Here's a link to a piece he wrote in The Atlantic magazine on "why fiction’s narrative and emotional integrity will always transcend the literal truth."  He makes an eloquent case for stepping outside the bounds of what you know when you write.

Yes, I write what I don't know.  And that can be scary and difficult at times.  There are no definitive roadsigns marking the territory.  But no one else knows it either, until I write about it.  And that's the real beauty of writing what I don't know.

Where do you fall in this throwdown?  Do you write what you know or do you write what you don't know?  Or a little of both?

On Friday we welcome debut author Ruthie Knox, who will share tips on writing and selling your first book.

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