Years ago I saw a terrific IMAX film called To the Limit. In it was a scene I never forgot. A champion downhill skier was sitting on top of a mountain, skis and poles by her side. Her eyes were closed and she was moving her arms and upper body as if she were skiing downhill. She was picturing the course with its turns and moguls as she traveled down the mountain in her mind. She was teaching her brain to prepare for those bumps and curves by visualizing the course over and over. Something similar to muscle memory ie: when you play an instrument and your fingers seem to move on their own, almost apart from your brain.
This visualization technique is crucial in writing. Close your eyes. Picture the scene you’re about to compose. Perhaps it’s a cop getting ready to interview a suspect. From Val McDermid’s The Torment of Others, visualize Detective Chief Inspector Carol Jordan:
“Carol stared through the two-way mirror at the man in the interview room. Ronald Edmund Alexander looked nothing like the popular image of a pedophile. He wasn’t shifty or sweaty. He wasn’t dirty or sleazy. He looked exactly like a middle manager who lived in the suburbs with a wife and two children. There was no dirty raincoat, just an off-the-peg suit, an unassuming charcoal grey. Pale blue shirt, burgundy tie with a thin grey stripe. Neat haircut, no vain attempt to hide the way he was thinning on top.”
Picture the room and a man seated there through the glass. Visualize the suspect, very possibly a child molester, and feel Carol’s frustration at his very ordinariness, the exact antithesis of what she expects a monster to look like. Could she be wrong? Are we being misled by his description?
Follow Harry Bosch in Michael Connelly’s Reversal, when he makes a trip to Fryman Canyon Park, an unexpected natural enclave above the madness of LA.
“Fryman was a rugged, inclined park with steep trails and flat-surface parking and observation area on top and just off Mulholland. Bosch had been there before on cases and was familiar with its expanse. He pulled to a stop with his car pointing north and the view of the San Fernando Valley spread before him. The air was pretty clear and the vista stretched all the way across the valley to the San Gabriel Mountains. The brutal week of storms that had ended January had cleared the skies out and the smog was only now climbing back into the valley’s bowl.”
Harry has been here before and is familiar with the area, its quirky smog patterns and unpredictable weather. Now, so are you.
Visualization is more than “description.” It’s about engaging the senses (see an earlier blog I wrote about this) to get a visceral feel for the scene. Picture a brown leather couch sitting atop a Persian rug in front of a teak coffee table. Now give the couch history–every crack in the leather represents a different house it has lived in or a different person who curled up on its soft hide. It was loved, it was beaten, it was ruined. Even a couch can have personality. What does it say about its owners?
Visualize a woman. She’s not just a blond in a blue dress, wearing high heels and red lipstick. She’s a woman, teetering outside a motel room, black roots showing through the teased mass, blue dress torn at her hem, lipstick smeared like a clown. Picture her. There . . . there she is. You can see her clearly. You know her.
Write your scenes as if they were movies. Let us see what’s happening through your words. You’re the director. Direct.
When my third book was published, I had originally titled it Provenance until a friend thought readers might confuse it with a city in Rhode Island. Of course it is a mystery and contains several murders, so I decided to call it Deadly Provenance. The story revolves around the confiscation of art during WWII and a missing Van Gogh painting. “Still Life: Vase with Oleanders” is an actual painting by Vincent, which disappeared around 1944, and is, in fact, still missing.
The research on this book provided so many possible avenues to explore, it was hard to know where to begin. First, there was the Nazi confiscation of art: the logistics of stealing, storing and moving millions of pieces of precious artworks. Next, what happened to all that displaced art? How much was recovered and how? How much is still missing? Then there’s my world — the museum world. How have museums been involved? Have they helped or hindered the search for missing pieces of art?
Then there are the players. An important character in the historic part of the book is Rose Valland, a woman whose heroic efforts during the war truly saved a great deal of artwork. She is portrayed in Deadly Provenance as the heroine she truly was. Like Rose, another real character in history is Hans van Meegeren, art forger extraordinaire. Van Meegeren, a Dutch painter, bamboozled the art world in the 40s with a series of false Vermeers. Did he ever forge a van Gogh? In my book he did.
There is the modern story, where the mystery is solved years later. Protagonist, Maggie Thornhill, a digital photographer, must try to identify and authenticate the painting from a photograph. Can it be done? Has it ever been done? What is the science of art authentication today? How are x-rays, infrared and multi-spectral imaging used in scientific analysis? Don’t freak. I won’t get into this too deeply here.
As mentioned in a former blog, I always visit the places I write about. During WWII, a great deal of art was stolen from Jews and other “undesirables” and stored in the Room of Martyrs at the Musée du Jeu de Paume in Paris. The museum is located on the west side of the Tuileries Gardens and is now a museum of Contemporary Art. Visiting was a treat, although the “Room” is no longer there. Most of the Impressionist and Post-Impressionist works originally housed there are now on display at the Musée d’Orsay, on the banks of the Seine, in an old converted railway station.
And last but central to the storyline, is Vincent van Gogh, the mad genius whose painting is lost, perhaps forever. “Vase with Oleanders” is not typical of his vibrant colors, his wheat fields or his starry nights. But there’s no doubt this is Vincent’s work, even if his signature wasn’t in the lower left corner of the painting. Which it is.
The painting was owned by the Bernheim-Jeunes, a French Jewish family of art collectors. When they realized their art was about to be confiscated by the Nazis, they hid their collection, including the Van Gogh, at a friend’s mansion – The Chateau de Rastignac, near Bordeaux. Unfortunately, in 1944, the Nazis raided and looted the Chateau then burned it to the ground. Was the Van Gogh trundled aboard a Nazi truck and whisked away? Did a soldier steal it? A civilian in the town? Was it burned with the Chateau?
Today, there is still a great deal of interest in this subject and the world of art looting and theft. I’ve spoken about it to a number of different audiences and each time I must update it because new information appears almost weekly in the news. Lost paintings found, fought over by heirs in the courts, and, sometimes, won. Like Maria Altmann and the portrait of her aunt, The Woman in Gold.
History can never remain solely in the past. Past events have a profound influence on the present and the future. I believe they should.
It’s become a tradition for me to send this story out every Christmas. The youtubes are particularly poignant. I hope you enjoy.
When it started, World War I was predicted to last only a few weeks. (The same was true of the Civil War, by the way.) Instead, by December of 1914, WWI had already claimed nearly a million lives. In fact, over fifteen million died in a war that dragged on for four miserable years.
But a remarkable thing happened on December 24, 1914. The front fell silent except for the singing of Silent Night. A truce! There are many examples of truces during wars, but none as famous as this one. The Christmas Truce of 1914.
In the Ypres region of Belgium on Christmas Eve, guns stopped, leaving a deathly silence across the fields. Then suddenly the British watched in astonishment as Germans began to set tiny trees along their trench lines. Soon a familiar tune with unfamiliar words carried across No Man’s Land, the battered and desolate space between the enemies. Silent Night. Stille Nacht.
Soon the British were singing along with the Germans. Soldiers on both sides crawled out of their trenches to meet in the middle and greet their enemy. They exchanged cigarettes and souvenirs. Perhaps a drink or two. And they collected their dead and wounded, carrying them back to their respective sides.
Peace for the day. Only one day because the next day they were back killing each other. Is there something wrong with this picture?
The story of the Christmas Truce came to my attention after reading the non-fiction, To End All Wars: A Story of Loyalty and Rebellion, 1914-1918, by Adam Hochschild, an amazing story of WWI. I highly recommend.
I’ll leave you with this thought. If Christmas can bring together mortal enemies for a day, why not for a week, a month, a year or longer? Or forever?
I hope you click on the youtubes below. They will make you sad and happy but most of all hopeful. Wishing you a happy holiday and a prosperous and healthy New Year.
Belleau Wood: Christmas Truce by Garth Brooks. https://www.youtube.com/watch?v=kjXa7DnaGjQ
Christmas Truce 1914, Music with captions to tell the story. http://www.youtube.com/watch?v=qsCpLMPI7IY
Behind the Christmas Story: The Christmas Truce http://www.youtube.com/watch?v=mgLcvjA8NDk
Christmas Truce of 1914. http://www.youtube.com/watch?v=p05E_ohaQGk
A writer friend asked me whether it was really a good idea to pay a professional editor to read her manuscript. My immediate response was yes, but the question made me pause and reflect on my personal experiences.
I have had all six of my novels edited by pros. Here are my thoughts.
There is huge value to editors who “copy” edit, that is, they read for spelling, grammar, syntax, etc. You always miss something: a comma where it doesn’t belong, the incorrect use of a semicolon. In terms of the broader picture: the plot, characters, structure, tension, conflict, on and on, the pro can be very helpful. . . or not.
In my Triangle Murders book, the professional editor I hired was so intrigued with the historic story that her suggestions would have made me totally change the book. It would have become a historic mystery rather than a historic mystery that is solved today with modern technology. She had her own vision for the book. But who was writing this?
The editor I hired for my Civil War book, however, was extremely helpful. He gave me an idea for a dynamite ending that I hadn’t even considered. It totally changed the story for the better.
Before you consider hiring a pro, however, do your own self-editing. Believe it or not, there is a lot you can do to improve your writing before it gets the going-over by someone else. Some suggestions:
Edit in small sections at a time. If possible, reread the section before and then edit the current 5 to 10 pages.
Also, read aloud (or to your dog or cat.) I can’t emphasize enough how important this is. You’d be surprised what you hear that you didn’t think you wrote. Dialogue may sound stilted, tension weak, setting inappropriate. Often I will come away from my reading out loud thinking, ugh, did I write that?
Some things to look for when you’re self-editing:
- Do you want to turn the page?
- Did you stumble over awkward phrases or clunky words when you read aloud?
- Were you confused by your own plot twists?
- Did punctuation mess up your reading?
- Were your characters boring, too flawed (yes, that’s possible) or totally unbelievable (unless you write Bourne thrillers)?
- Were thAere plot inconsistencies ie: a character appeared after she was murdered?
- Were there setting inconsistencies? It was hot as Hades one day, snowing the next?
- Did you get your facts right? Very important if you want authenticity.
You can be your own best editor. But, just to be sure — reread, rewrite, read aloud. And again x 3.
Now hire a professional for the final read.
Your thoughts welcome.
This is a re-post of a blog from earlier days. There never seems to be a wane in the interest of missing WWII art and even today, art and artifacts are being returned to their rightful owners. The blog:
The most amazing thing just happened. My latest book, Deadly Provenance, recently went online. It’s a fictional story of the Nazi looting of art during WWII, set against the backdrop of an authentic historical drama that is still unfolding today. That’s not the amazing part.
Alfred Rosenberg in Berlin
A central “character” in the book is the ERR or Einsatzstab Reichsleiter Rosenberg, the Third Reich’s bureau, if you will, tasked with confiscating the precious art of Europe from “undesirables.” It was led by Alfred Rosenberg, fanatical henchman and confidante of Hitler, who also played a major role in the extermination of millions of Jews. So why is this amazing?
The long lost diary of Rosenberg has just been recovered. 400 pages that are now at United States Holocaust Memorial Museum in Washington, D.C. The diary is hand-written (that in itself is amazing!) and spans events from spring 1936 to winter 1944. It could offer insight into many occurrences that remain unclear today. For instance, there might be details about the Nazi occupation of the Soviet Union, or such incidences as the flight of Rudolf Hess to Britain in 1941.
My personal hope is that the pages shed light on the missing art pieces. Is it possible that in addition to formal ERR records of confiscated works, that perhaps Rosenberg mentioned some of these in the diary?
Still Life: Vase with Oleanders by Vincent van Gogh is one of those missing paintings and the one I focus on in my book. Did Rosenberg happen to make note of it in his diary? When he tried to steal it from a gallery in Paris but it had already been removed for safekeeping by the owners – the Bernheim Jeune family. Did he mention that it was found again, or not, when the place of safekeeping, the Château de Rastignac near Bordeaux, was burned to the ground?
Where is the missing van Gogh?
According to Haaretz, a Jewish world newspaper, Rosenberg “. . . elicits a rare consensus among many World War II historians: the man, they say, was a pretentious fool.” Besides being a monster of the highest order. But now his diary may shed light on history, assuming words of a pretentious fool are to be believed, and that he said anything worthwhile, and did not blather on about inconsequential personal events in his life.
Which brings me back to the original premise. Does history ever stop unfolding or are there always new discoveries and uncoveries that deny or confirm the facts as we know them? Think about how your writing can reflect all the many possibilities. Alternative histories or histories true to the last detail . . . until we find out otherwise.
For now, I’m hoping to read the text of Rosenberg’s diary when it becomes public. Maybe there are clues within it to help me hunt down that van Gogh. (See link: http://lynnekennedymysteries.com/the-hunt-for-the-missing-van-gogh/)
Oh. Did I mention I was going to do that?
As writers, we are all marketeers (without mouse ears.) Social media is an important venue for us and Facebook is perhaps the most significant of these venues. I’ve been watching closely to the posts that have come across FB in recent months. Many have been sketchy, others clearly false, and some downright scary.
Note: We’ve all received emails to take advantage of an offer from, as an example, Amazon@Susie.com, right?
FB recently posted the following tips on how to determine which posts are, indeed, false news. I thought this was a small step in the right direction. For my blog, I decided to list these in case you’ve missed them. So here, in Facebook’s own words are tips to spot false news:
- Be skeptical of headlines. False news stories often have catchy headlines in all caps with exclamation points. If shocking claims in the headline sound unbelievable, they probably are.
- Look closely at the URL. A phony or look-alike URL may be a warning sign of false news. Many false news sites mimic authentic news sources by making small changes to the URL. You can go to the site to compare the URL to established sources.
- Investigate the source. Ensure that the story is written by a source that you trust with a reputation for accuracy. If the story comes from an unfamiliar organization, check their “About” section to learn more.
- Watch for unusual formatting. Many false news sites have misspellings or awkward layouts. Read carefully if you see these signs.
- Consider the photos. False news stories often contain manipulated images or videos. Sometimes the photo may be authentic, but taken out of context. You can search for the photo or image to verify where it came from.
- Inspect the dates. False news stories may contain timelines that make no sense, or event dates that have been altered.
- Check the evidence. Check the author’s sources to confirm that they are accurate. Lack of evidence or reliance on unnamed experts may indicate a false news story.
- Look at other reports. If no other news source is reporting the same story, it may indicate that the story is false. If the story is reported by multiple sources you trust, it’s more likely to be true.
- Is the story a joke? Sometimes false news stories can be hard to distinguish from humor or satire. Check whether the source is known for parody, and whether the story’s details and tone suggest it may be just for fun.
- Some stories are intentionally false.Think critically about the stories you read, and only share news that you know to be credible.
Since this blog was written, a Netflix Documentary called The Great Hack premiered. Facebook plays a large part and comes off looking like a villain. Well, I suggest you watch it and make up your own mind.