Monday’s Musing on Margot Kinberg’s latest post, “I Am the Observer” and writing back-story…

Hey all,

So Monday’s Musing on Author Margot Kinberg’s latest blog post, “I Am the Observer Who is Observing* —at Confessions of a Mystery Novelist https://margotkinberg.wordpress.com/2018/05/31/

Much like the spectacular Eurasion Owl pictured above, Kinberg’s post got me thinking about how the observer characters in crime-fiction can help us write better back-story into our novels. In her post, she likens writers to those people in life who tend to be natural observers, hanging back and taking it all in. Nothing escapes these people. And as Kinberg points out, if you ever read Agatha Christie, you know her main man Poirot is always looking to interview the observers in the room, and that these types are ultimately the best source for detectives and cops looking to solve crimes.

Or, likewise, if you watch FX’s Criminal Minds or any of BBC’s Masterpiece mystery shows, you know that observers are often more help than any actual physical evidence found on the scene since they can point the crime solvers in the right direction, when little else can:

“Observers often have a very interesting perspective, because they stand back and notice everything… Observers can give valuable information on what they’ve seen. And their perspectives can give the detective a sense of what a group of people is like So, it’s little wonder that we see them so often in crime fiction.” Kinberg

Observer
pic by pam Evans

 What intrigued me the most in Kinberg’s post was her mention of author Louise Penny’s book, Still Life. I haven’t read it yet, but it’s on my list now. According to Kinberg, the victim, Jane Neal, seems to be the observer, albeit from after the grave. She helps the cops by letting them know she’d known things, a lot of things, that other people in town just may have wished she hadn’t! And that very fact, helped seal her doom!

Since I’m writing up a novel where the victim chimes in after the deadly deed too, this intrigues me. Especially as a way of dealing with a character’s back-story. Back-story is so challenging to write. It engrosses us as we create our characters, and it can be all consuming if we let it. But, we all want to avoid the dreaded ‘dumping’ sceanario where  the reader becomes barraged with info. overload all in one fell swoop! Or, as renowned crime fiction author Les Edgerton like to call it, doing “The Rubber Ducky” (http://lesedgertononwriting.blogspot.com/rubber-ducky.):

“The “Rubber Ducky” is Paddy Chayevsky’s term for when the hero or villain, at a lull in the action, explains that he is the way he is because his mother took away his rubber ducky when he was three…Always a nice scene… And totally unnecessary … It usually comes from not trusting the reader’s or viewer’s intelligence to “get it”….

Rubber Ducky

…if all you’re trying to do is give your hero more emotional depth, for the sake of emotional depth, without integrating his back-story into your story, you run the risk of awakening the dread Ducky.”  Edgerton

 

I don’t know how my attempt will turn out, but it seems like going back in time and letting the victim tell some of the tale from an observer standpoint seems like a great way to deal in her back-story, and without awakening the dreaded RD. 

I’m giving it my best shot anyway. Could make my tale so much more present for the reader, involving them intimately in the life of my vic by hearing her own voice relay the rough-ride. Much better her than me! As author, I so want to get out of my character’s way, and let them do the heavy lifting!

What do you all think?

Drop your comments below, and let’s talk back-story!

Ciao for now,

Lisa

 

 

Award winning crime fiction author Les Edgerton, on how to dump the “Rubber Ducky”….

( Much thanks to Virginai Mcgreggor for original blog post)

” A good example of a Ducky that never comes up is Thelma and Louise. It becomes clear over the course of the movie that something terrible happened to Louise (Susan Sarandon) in Texas; that’s why the two women take the long way around to the Mexican border. You begin to realize that she must have been raped in Texas, and then disbelieved in court. That she probably shot her attacker…But Louise never says anything explicit about it in the movie, and that makes her backstory all the stronger. It’s only delivered via hints.And, the first hint doesn’t even appear until more than a third of the way into the movie.” (Edgerton)

WRITING MASTERCLASS BY LES EDGERTON: (THE DANGER OF BACKSTORY (OR THE RUBBER DUCKY)

original_ppp3

Les Edgerton is a wonderful novelist and writing teacher. His life and his writing are an inspiration. Here is one of his blog posts on the danger of including  backstory  – or, as he calls it the ‘Rubber Ducky.’ It’s a typically no-nonsense and hugely helpful  kick up the backside as regards focusing on writing what matters to readers.

(From Sydney Lumet’s and Paddy Chayevsky’s writings on the subject.)

I am going to rant about the ‘Rubber Ducky’ theory of backstory for a bit. I’m using material from Sydney Lumet and Paddy Chayevsky, which were intended for screenwriters, but apply just as much for novelists.

The ‘Rubber Ducky’ is Paddy Chayevsky’s term for when the hero or villain, at a lull in the action, explains that he is the way he is because his mother took away his rubber ducky when he was three.

It’s always a nice scene, well acted, beautifully lit, with a powerfully written monolog that the writer spent days on. And totally unnecessary in most stories and overused… It usually comes from not trusting the reader’s or viewer’s intelligence to “get it”…

It’s also the source for many of those godawful “prologues” in newer writer’s manuscripts. It’s often their protagonist’s Rubber Ducky and as such is a total waste of paper and/or electrons.

The character’s past may be crucial to your story. Batman is haunted by the murder of his parents by a mugger when he was small. That’s why he likes to dress up in latex and beat the tar out of muggers. In The Terminator, the hero’s past, which is in the future, is the hellish future of the entire human race. It sets up the stakes for the whole movie. In movies like these, we do need to know about the hero’s past. You will need to keep coming back to that past, to give it the weight it deserves. Both Batman and The Terminator, in fact, start with the hero’s backstory before getting into the main story.

But if all you’re trying to do is give your hero more emotional depth, for the sake of emotional depth, without integrating his backstory into your story, you are running the risk of awakening the dread Ducky.

The strongest way to create a sense of character is to give the character things to do and say on screen that give us a sense of a person. If the character’s personality doesn’t leap off the page, readers will feel that the character is flat. And personality is created by how he or she reacts to the obstacles encountered in the struggle. How he or she is proactive in resolving the story problem and isn’t simply reactive or passive. Development executives will ask to know more about the protagonist’s past. You will surrender to the urge to put in a Rubber Ducky. Then if the picture becomes a go, the actors will get attached to the Rubber Ducky scene, because it shows they can Act. So the Ducky stays in the picture. (To its detriment.)

In novels, the same thing happens when the characters are seen as flat. Many times, in my classes and in private coaching of novelists, I’ve advised the writer that their protagonist just wasn’t interesting. Almost always, the first reaction is to give him/her a Rubber Ducky, thinking that giving him some traumatic experience in his or her past will render him a more interesting character. Except… it doesn’t. Way back then, when the Ducky took place, sure, that may have been interesting. That was then, this is now. The Ducky is ancient history. The reader knows the character survived so it loses most of its emotional punch.

Almost always the core reason the character is flat is because the author is delivering him one of two ways.

One, he gives us a character who is predominantly in his mind. We’re mostly witnessing the protagonist’s thoughts. He’s just not doing anything but… musing. Musing doesn’t affect the emotion of a reader. Only one thing affects the readers’ emotions—the character acting on his/her behalf to resolve a problem. With… action.

The second way the protagonist is rendered uninteresting is that he engages in a lot of dialog. He “solves” story problems by… talking. It’s the same thing, basically, as a character ruminating about in his head. The only difference is the writer is delivering the same thing by having the character say those thoughts out loud. To another character. While dialog is part of action, that brand of dialog isn’t. This is a common fault of beginning screenwriters as well as novelists. Newer screenwriters, in particular, have bought into a myth that movies are mostly dialog. Plays are, but screenplays really aren’t. A successful movie works the same way as a successful novel. The audience wants to see the characters doing something. Sometimes, that “something” is dialog, but far less than many think. A movie that depends on heavy doses of dialog has a name. It’s called a “talking heads” movie. A novel that depends on heavy doses of dialog has a name as well. It’s called “unpublished.” Or, “self-published.”

A too-obvious Ducky cheapens the character.

Kurt Russell’s character Jack O’Neil in Stargate is suicidal because his young son killed himself accidentally with a pistol he left around the house. To make us care more about his otherwise unpleasant character, O’Neil delivers a small monologue to James Spader’s character Daniel Jackson. It is important to the picture that O’Neil is suicidal, but not why; and given O’Neil’s contempt for Daniel Jackson, it’s unlikely that he would open up to him about his guilt and shame. The emotional truth of the situation is that Daniel Jackson would never know why O’Neil is so willing to die. It might have been more emotionally truthful for the movie never to relay this information. But I wouldn’t be surprised if Kurt Russell wanted the audience to know that his character had a good reason for being such a bastard. Actors want you to have sympathy for them.

A good example of a Ducky that never comes up is Thelma and Louise. It becomes clear over the course of the movie that something terrible happened to Louise (Susan Sarandon) in Texas; that’s why the two women take the long way around to the Mexican border. You begin to realize that she must have been raped in Texas, and then disbelieved in court. That she probably shot her attacker which was why she ended up in jail. But Louise never says anything explicit about it in the movie, and that makes her backstory all the stronger. It’s only delivered via hints. And, the first hint doesn’t even appear until more than a third of the way into the movie.

If development execs are asking you for the Ducky, the screenplay isn’t working for them. Don’t give them the Ducky, but do focus your scenes so they show the character.

Go through your script again, scene by scene, and make sure that every time the hero acts, it shows us who he is.

Make sure you communicate how he feels about what he’s doing, and give him a fresh way of doing it, one someone else wouldn’t have… If an agent or an editor gives you the same note, use the same strategy for making the protagonist interesting—one the reader will want to follow. Not to see his brilliant and riveting thoughts… but to see how he struggles against huge odds to gain his objective. And in original ways. Then, you’ll have an interesting character.

Sidney Lumet said:

In the early days of television, when the kitchen sink school of realism held sway, we always reached a point where we explained the character. Around two-thirds of the way through, someone articulated the psychological truth that made the character the person he was. [Paddy] Chayefsky and I used to call this The Rubber Ducky School of Drama: ‘Someone once took his rubber ducky away from him, and that’s why he’s a deranged killer.’ That was the fashion then, and with many producers and studios it still is.

I always try to eliminate the rubber-ducky explanations. A character should be clear from his present actions. And his behavior as the picture goes on should reveal the psychological motivations. If the writer has to state the reasons, something’s wrong in the way the character has been written.

And finally…

The same principles apply to memoir. A memoir that is based mostly on the author’s own Rubber Ducky, is one that is probably going to end up largely a victim story. Unfortunately, those are pretty much over. That becomes a ‘me’ story and we’re not much interested in those these days.

Create your characters in the ‘present’ of your story. Give him or her a compelling problem and put obstacles in their path and give them really cool and interesting (and unexpected) ways to overcome those obstacles.

Keep out of their heads as much as possible. Not entirely—just less than you might be tempted to. Not as much going on in there as you might think…

Hope this helps!

Blue skies,

Les