In anticipation of the next All Authors Newsletter, we decided to do a throwback article from All Authors Magazine.
This throwback is from Issue 12, whose theme was "The Spooks of Imagination". This guest article was written by the upcoming feature author Da'Kharta Rising.
When I heard that the theme for Issue 12 of All Authors Magazine Online was “The Spooks of Imagination”, I leaped at the chance to become a part. I tend to express myself with no apologies but for the AAM audience, I will try to tone it down. Key word being try.
Oh, how rude! I started writing and didn’t even introduce myself. I’m Da’Kharta Rising. You can call me by my first name only or by my initials DR. None of that Miss Rising stuff. I’m not on the front porch of a mansion waiting to be served some English tea.
I’m also known as the SASS, the Slightly Anti-Social Socialite. However, I’m going to break my ASP (Anti-Social Protocol) to talk to the writers. Particularly the writers I hold dear to my heart: those who wrote horror, thrillers, and drama.
I have just one simple question:
Why in the sam Hell must you tell everything?
Lately, I’ve been reading books in the previously mentioned genres. The whole beauty of a horror, thriller or drama write is to sustain a level of mystery and generate conflict that keeps the reader guessing.
I’m not a romantic chic, by any means, but think of it like this:
You are a guy surprising his wife for his anniversary. Now if you are going to treat her to a fancy dinner, a snazzy hotel, and some “hot make the cops come knocking” sex, are you going to tell her about it in advance?
No.
You may drop hints here and there but you aren’t going to say, “Hey babe, we are going to (insert restaurant that is equivalent to a car insurance payment), a five-star hotel, then I’m going to strip you down, pour honey on your ass and make you orgasm like never before!”
If you do tell it, then it’s stupid!
Why? Because you’ve spoiled the surprise.
Why in the hell would I even want to read the entire book if you’ve given away the identity of the killer twenty-five percent in? Or debate on motive when the motive is spelled out?
Which guru deemed that birthing full-blown spoilers in the midst of writing thrillers, dramas and horror was a terrific idea? I’d like to find that person because I would resurrect Jason Voorhees, Michael Myers, and Freddy Kruger to hunt that moron down.
This. Has. Got. To. Stop.
No. I. Will. NOT. CALM. DOWN!
Yes, the extra periods are on purpose because I want those statements to be like mental hollow points of real talk piercing through your brain.
I do not want to assume that the average reader is so dumb that the writer has to point out every point of conflict in the book. There is something called imagination—it can make the scenes in the book be as dull or as fantastic as the reader wants it to be. Why deprive the reader of that freedom with one’s diarrhea of the pen?
If you are a writer that is a word count snoot, then use it to set up some scenery or to give a further description of your main character. Even develop some of the supplemental characters to make the main catalyst of conflict look like a richer badass. Don’t go around telling the very things that make a reader want to grab your work in the first place.
Before I make my exit, a very important SIDE NOTE:
If you can’t keep from revealing the “why, who, and how” in your book blurb, get someone else to write said book blurb.
I kid you not! There was one book that had a very long blurb. Due to the fly cover and the premise, I picked up the book. Needless to say, that long blurb revealed all the pivotal action about the book. Can we say disappointed? #WhatAFail
The moral of this write: Show me the fright.
Also known as:
“Don’t tell me who the killer is.”
“Don’t give a play-by-play on motive.”
“Don’t give a blueprint about everyone’s drama.”
“If you must say something, HINT.”
With shiny sharp blades and an even sharper mouth,
