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Writing tip Wednesday: “10 Things I Learned About Writing and Publishing From Managing a Porn Store” | LitReactor

Source: 10 Things I Learned About Writing and Publishing From Managing a Porn Store | LitReactor

By Christoph Paul

I used to manage a porn store in northeast D.C. I worked there for two years and it was the best writer job I ever had. There were whole blocks of time where I could read and write while I sat behind the counter. It was a blessing to get paid to practice my craft. All the hours added up and I became a better writer, but managing the porn store also taught me certain skills that I use on a daily basis in my writing and publishing career.

Covers and Titles

The first thing I learned was that we had to buy and sell lots of rentals on our new releases to stay afloat. If I picked a lot of bad movies for the new release wall that didn’t get bought or rented within the first month, my boss would be pissed. The customers also got pissed, and then I would have to deal with a lot of bullshit instead of focusing on writing or reading. The only real work I had besides putting movies back on their shelves was picking the weekly new releases. With the goal of having my boss stay off my back, I made sure to kill it each week with my new release section. I learned what sold and what type of titled stood out. I use that same skill when writing or publishing a new book. Whether it be porn or fiction, the cover and title has to show the readers and viewers that they will enjoy the product. The cover must at least peak curiosity and satisfy something a reader or porn watcher is wanting. Bad covers, whether on a porno or on a novel, are easy to spot and will always stay on the shelf.

Dialogue

My shift was eight hours a day, five days a week. Though I would have loved to spend every hour reading and writing, I had to interact with the customers. There were a lot of regulars who wanted to talk about politics, sports, their personal lives, their kinks, and their jobs. They would not hold back, and almost treated me like a priest. I heard some hardcore confessions. When I am figuring out how a certain character would sound, I have a ton of examples from the porn store. I can use their quirks and speech patterns to inject more realism and humor into my dialogue. Whether it be someone in the closet renting gay porn or a person explaining why they don’t want to have sex with their significant other anymore, I heard people speaking their truths. This gave me an ear for both inner and outer dialogue. There are things that a character reveals in more subtle and nuanced ways, through their rhythms, vocabulary, and even through the things they pointedly leave out.

Writing Through Chaos and Distractions

You can write anywhere. That is what I learned those years behind the porn store counter. I’d have homeless people come in, zoning law inspectors, gang bang recruiters (seriously), cops coming in to shoot the shit, the boss stopping by to complain, and customers looking for very specific fetishes. I learned to stop and deal with who or whatever I had to attend to, and then get back to writing. While there, I finished the second draft of a literary novel, some short stories, and read a ton. I learned there is no perfect place to read and write, and that even through the most awkward disruptions you can still find time to be creative.

Con Selling

If you can sell a $29.95 DVD with ‘anal’, ‘cuckold’, and/or ‘big cocks’ in the title, you can sell a book you have edited or written to a stranger. I picked up some practical sales skills at the porn store. My constant goal was to keep enough money coming in so my boss never suspected I was writing on the job. Though selling shitty porno movies and fake penis growth pills felt disenchanting at times, it taught me how to interact with strangers. When I started doing book festivals and conferences three years ago, they were a joy, because I actually believed in my books and understood how to communicate each book’s value. While penis enlargement pills are bullshit, I actually believe in what I sell. That combination of enthusiasm and sales skills has helped me finish in the black for almost every con/festival I have attended.

Character Studies

It wasn’t just dialogue I learned from the porn patrons. It was crafting real characters with real quirks and commonalities. Listening and talking to the porn store patrons was as good as reading any craft book on creating realized and memorable characters. After working the store for a year, I could usually tell a lot about a person within the first minute of talking to them. I noticed the physical: body language, the sound of their voice, build, did they look me in the eyes or not; sociological: how well read or educated they were, where they worked, what kind of money they made, religion, nationality; and emotional: were they stable, lonely and needing to connect, fake happy, assertive or aggressive, timid. All of these characteristics combined into making them who they were. I could use this skill to build real characters in my fiction. I could take physical, sociological, and emotional attributes and combine them into a unique human being. I would sometimes compare them to real individuals I met at the porn store to see if they felt ‘real.’

Genre Expectations and Surpassing Them

Different fetishes and types of porn are really just different genres. The videos that end up getting rented and bought the most not only meet ‘genre expectation,’’ they also add something special. While I don’t want to get super graphic here, it usually involves something memorable in the video—a scene, a style, and many times, a certain actress. I learned from the popular porno videos that when writing in a certain genre you have to make those genre fans happy, but also give them something unique. It can be your style of language, it can be taking a new approach on a familiar trope, and most importantly giving the reader an outstanding character. When you meet the expectations of genre and create something memorable in your story, your books will sell as good as porn.

Talking Books

On very slow days I would sit behind the register and read. A lot of customers didn’t want to interact and I would just look up, put in my bookmark, and get them their movie. This was pretty standard, but sometimes the porn patrons would be curious about what I was reading. Many of these guys were proud non-readers. I took this as a challenge to infuse the porn store with at least a little literary curiosity. To do this I had to tell them why the book was enjoyable and get them interested enough to want to hear more. I was very proud when I was able to get 4 men excited about the story of one of my favorite novels, Anna Karenina. Experiences like that have made it a lot easier for me to write the back copy of my own as well as other writers’ books.

Vibrator Editor 

Until I got the hang of it, selling and recommending vibrators was a challenge. Though white male privilege exists, it doesn’t come in handy when talking to a woman about what vibrator she should buy. At first it was very awkward and I didn’t sell many vibrators, but I learned that I had to help the female customer feel comfortable. I also needed to be knowledgeable and a little humorous, as well as respectful. When I took this approach I easily sold vibrators and learned better communication skills. These skills help me so much when editing other people’s work. Communication and making artists feel comfortable is important. Sex toys, someone’s story, they both involve vulnerability, but if you communicate the right way, a writer will be able to access the right technique and tool for the job.

Storytelling

When it was cold, the porn sales always rose. Wintertime was the most popular time in the store. Not just for rentals and purchases, but for guys just wanting to hang out. The porn store would feel a lot like a barbershop. There were guys who proudly didn’t read and didn’t even like watching movies or TV. They only liked sports, but some of these guys would come up with the funniest stories I have ever heard. There were always men wanting to talk, but if you couldn’t tell a good story or keep people’s interest, they wouldn’t give you a chance to be heard. I saw that being a great storyteller had nothing to do with being a great writer. Storytelling was a separate skill, and there were some guys who might not have ever picked up a book but could tell a great story. I started listening to these guys and dissecting their stories. I realized they were using many of the techniques I read about in the craft books about great storytelling.

Snobbery

I started the porn store job a good 7 years ago. At the time, I was a big literary snob. I believed that only the serious literary novel is what people should read, and even though I was selling porno, I thought erotica and romance writers were total hacks. After two years of working there my mind really opened, and I saw that whether it be porn, erotica, or romance, they were art forms and audiences enjoyed the fantasy and desire that they provided. I lost my snobbery, seeing that any kind of storytelling takes skill. A few years later I would take what I learned at the porn store and write erotica under a pen name. The erotica I have created is still the most successful work I have published. If I hadn’t worked at the porn store, I would be just another bitter failed literary novelist complaining about Chuck Tingle.

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A bit of dialogue: “Encounter in Fine Print”

The other day, an acquaintance on Facebook wrote about an “encounter” with a couple of mice that had invaded her second story writing office. She “inflated” the encounter here and there to give it a little fun.

Below is my response to her posting. The encounter told from the point of view of the mice.

Told all in dialogue. You can be the judge if it works.

I call it, Encounter in Fine Print.

“Brian. Hey, Brian, you think it’s workin’? Think we’re scaring her?”

“Yeah, Pink, I think if we stare at her long enough through this magnifying thing we found she’ll think we are four times our size with fangs and claws six inches long. Just keep staring at her.”

“But Brian….”

“Yes, Pink?”

“How do we eat and stare at the same time?”

“We don’t, Pink.”

“Why do you call me Pink? My name’s Gerald.”

“Gerald won’t get us anywhere.”

“Are we goin’ somewhere? I thought we came here for snacks. You know, cheese bits and stuff.”

“Never say ‘and stuff.’ Just say cheese bits.”

“Why?”

“Because I said so.”

“So, I have to be Pink because you said so, and I can’t say ‘and stuff’ because you said so.”

“That’s right.”

“I don’t think I like this game.”

“It’s not a game, Gerald. It’s … it’s … ah … okay, it is a game, but it is a game to make us famous.”

“I want snacks.”

“When we become famous, you will have all the snacks you can handle. I’ll even give you one of mine, Pink.”

“Really!” Pink said.

“Really.”

“Really?”

“Really,” Brian said.

“But when do we get snacks?”

“After we scare this woman. She’s a writer. We scare her, she will put us in one of her stories, her fantastical tales.”

“My tail is nice, but I wouldn’t call it fantastic.”

“It’s not about your tail.”

“If it’s not about snacks and it’s not about my tail. What is it about?”

“Gerald….”

“I thought it was Pink.”

“Pink, I will say it one last time. It’s about being famous. This lady writer writes a story about us in which we are monsters out to take over the world. We’re fifty foot—No, 100 foot rats with fangs like Mammoth tusks and we eat everything in sight. Men, women, children.”

“And they’re our snacks?”

“Yes, Pink, they are our snacks.”

“But I don’t want to eat children.”

“You don’t have to.”

“When do we eat? I’m starving.”

“Not yet, because we have to have to take the story to a Hollywood director, who will want to turn it into a screenplay with lots of special effects that he will use to splash the story across the big screen.”

“And we’ll be movie stars and get snacks?”

“Yes.”

“The Hundred Foot Rat starring Pink and Brian.”

“Brian and Pink”

“Pink and Brian.”

“I think you need a new name.”

“Brian’s a good name.”

“So’s Gerald. But you won’t let it be Gerald and Brian.”

“Okay. Maybe we can use an anagram.”

“Aunt Gram? I think your name would be silly. Aunt Gram.”

“Anagram. Anagram. You rearrange the letters to spell something else.”

“Oh, is that how you got Pink out of Gerald?”

“Ah … exactly.”

“Then what would your Aunt Gram be?”

“Brian … Brian … An rib? No. Hummm. Brian … Brian. Brain. That’s it – Brain.”

“So, we’ll be Pink and Brain.”

“Oh, okay. Your nom de guerre can be first.”

“Now it’s going to be Name the gear and Brain?”

“Pink for short.”

“So Pink for short and Brian?”

“Close enough.”

“Hey, where did the lady writer go? The one who was going to make us monsters?”

“Well, Pink for short, I think she went to get help.”

“You mean another writer to help her write our story, Brain? Our story with snacks in it?”

“Not exactly. I don’t think those footsteps sound friendly.”

“You mean no snacks, Brain.”

“I mean no snacks, Pink.”

“And I bet there ain’t no story, either.”

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Writing tip Wednesday: “Says who?”

Source: http://www.writersdigest.com/online-editor/the-7-tools-of-dialogue?et_mid=673791&rid=239626420

The 7 Tools of Dialogue

by James Scott Bell

My neighbor John loves to work on his hot rod. He’s an automotive whiz and tells me he can hear when something is not quite right with the engine. He doesn’t hesitate to pop the hood, grab his bag of tools and start to tinker. He’ll keep at it until the engine sounds just the way he wants it to.

That’s not a bad way to think about dialogue. We can usually sense when it needs work. What fiction writers often lack, however, is a defined set of tools they can put to use on problem areas.

So here’s a set—my seven favorite dialogue tools. Stick them in your writer’s toolbox for those times you need to pop the hood and tinker with your characters’ words.

#1 LET IT FLOW.
When you write the first draft of a scene, let the dialogue flow. Pour it out like cheap champagne. You’ll make it sparkle later, but first you must get it down on paper. This technique will allow you to come up with lines you never would have thought of if you tried to get it right the first time.

In fact, you can often come up with a dynamic scene by writing the dialogue first. Record what your characters are arguing about, stewing over, revealing. Write it all as fast as you can. As you do, pay no attention to attributions (who said what). Just write the lines.

Once you get these on the page, you will have a good idea of what the scene is all about. And it may be something different than you anticipated, which is good. Now you can go back and write the narrative that goes with the scene, and the normal speaker attributions and tags.

I have found this technique to be a wonderful cure for writer’s fatigue. I do my best writing in the morning, but if I haven’t done my quota by the evening (when I’m usually tired), I’ll just write some dialogue. Fast and furious. It flows and gets me into a scene.

With the juices pumping, I find I’ll often write more than my quota. And even if I don’t use all the dialogue I write, at least I got in some practice.

#2 ACT IT OUT.
Before going into writing, I spent some time in New York, pounding the pavement as an actor. While there, I took an acting class that included improvisation. Another member of the class was a Pulitzer Prize–winning playwright. When I asked him what he was doing there, he said improvisational work was a tremendous exercise for learning to write dialogue.

I found this to be true. But you don’t have to join a class. You can improvise just as easily by doing a Woody Allen.

Remember the courtroom scene in Allen’s movie Bananas? Allen is representing himself at the trial. He takes the witness stand and begins to cross-examine by asking a question, running into the witness box to answer, then jumping out again to ask another question.

I am suggesting you do the same thing (in the privacy of your own home, of course). Make up a scene between two characters in conflict. Then start an argument. Go back and forth, changing your actual physical location. Allow a slight pause as you switch, giving yourself time to come up with a response in each character’s voice.

Another twist on this technique: Do a scene between two well-known actors. Use the entire history of movies and television. Pit Lucille Ball against Bela Lugosi, or have Oprah Winfrey argue with Bette Davis. Only you play all the parts. Let yourself go.

And if your local community college offers an improvisation course, give it a try. You might just meet a Pulitzer Prize winner.

#3 SIDESTEP THE OBVIOUS.
One of the most common mistakes aspiring writers make with dialogue is creating a simple back-and-forth exchange. Each line responds directly to the previous line, often repeating a word or phrase (an “echo”). It looks something like this:
“Hello, Mary.”
“Hi, Sylvia.”
“My, that’s a wonderful outfit you’re wearing.”
“Outfit? You mean this old thing?”
“Old thing! It looks practically new.”
“It’s not new, but thank you for saying so.”

This sort of dialogue is “on the nose.” There are no surprises, and the reader drifts along with little interest. While some direct response is fine, your dialogue will be stronger if you sidestep the obvious:
“Hello, Mary.”
“Sylvia. I didn’t see you.”
“My, that’s a wonderful outfit you’re wearing.”
“I need a drink.”

I don’t really know what is going on in this scene (incidentally, I’ve written only these four lines of dialogue). But I think you’ll agree this exchange is immediately more interesting and suggestive of currents beneath the surface than the first example. I might even find the seeds of an entire story here.

You can also sidestep with a question:
“Hello, Mary.”
“Sylvia. I didn’t see you.”
“My, that’s a wonderful outfit you’re wearing.”
“Where is he, Sylvia?”

Hmm. Who is “he”? And why should Sylvia know? The point is there are innumerable directions in which the sidestep technique can go. Experiment to find a path that works best for you. Look at a section of your dialogue and change some direct responses into off-center retorts. Like the old magic trick ads used to say, “You’ll be pleased and amazed.”

Other tools include Cultivate Silence, Polish a Gem, Employ Confrontation, and Drop Words. For Details on these tools, go to http://www.writersdigest.com/online-editor/the-7-tools-of-dialogue?et_mid=673791&rid=239626420

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Writing tip Wednesday: three keys to dialogue

by David E. Booker

1) It’s not conversation. In his book, On Writing: Advice to Those Who Write to Publish (Or Would Like to), George V. Higgins, known for his dialogue, advises developing an ear for dialogue, but that dialogue in stories is not simply conversation lifted from daily life and dropped into a story.

Normal speech is full of too many “uhs, ahs, and other sounds that are verbal place holders and don’t really have any place in fictional dialogue. Also, normal speech is full of “small talk.” Things like, “Hi, how are you? How’s the husband and kids? It sure looks like the team will have a good season this year.” All things meant to keep the lines of communication open, psychologists might say, but are of little use in furthering your story. In short, good dialogue moves the story forward. Asking about the family or saying the team will have a good year only keeps the story in place.

A corollary to this is the “As you know, Fred” dialogue, which is dialogue between two people who know the information being conveyed, but they are conveying it, anyway, for the sake of the reader, who doesn’t know. Science fiction can many times be guilty of this when two scientists of the same discipline, say particle physics, “converse” with each other about what a particle is.

2) It’s often what you don’t say. Subtext is the hidden force of any scene of a story or movie. As the noted script writer and teacher, Robert McKee says, “If a scene is about what a scene is about, then the scene is dead.”

Good dialogue

Often, good dialogue is about what isn’t being said.

For example, if two people are engaged in changing a tire and all they talk about is tire changing, then the scene is dead. However, if during that scene, one member is gruff to the other one and eventually says the flat was his fault for not checking the tires to begin with, then you have an emotional charge running through the scene and dialogue is then used to convey that emotional charge, the subtext is the tug of war of one person trying to blame another and how the person being blamed reacts or handles the accusation.

3) It’s okay to only use “said” and “asked.” Many writers learning their craft try to spice up a scene by having their characters express their dialogue with: he espoused, she guffawed, he trumpeted, she queried, etc. This will only slow down a scene. It should be: he said, or he asked, if it is a question. One exception might be: she yelled. But other than these, if the scene does not convey the right intensity with which your characters should be speaking, then there is something amiss in the scene, and it won’t be fixed by exchanging “she said” for “she espoused.”

In fact there are some writers, such as the late Robert B. Parker, who use only “he said” or “she said,” even where there was a question. He figured the use of the question mark at the end of the spoken sentence was clue enough.

And please note, by saying “he” or “she,” I am not saying never use the speaker’s name. particularly when somebody is speaking for the first time in a scene, it is often recommended that the text read, “Bob said” or “Alice asked.”

There are certainly other suggestions for creating good dialogue, but mastering these three will put you on your way to having dialogue that moves the story forward and adds a good boast to your writing.

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Writing Tip: Successful Revision

[Editor’s note: the essay below is taken from an e-mail newsletter sent out by the writer Bruce Hale. you can find his web site at: http://www.brucehalewritingtips.com/. You can also sign up for his e-newsletter at that site. Each electronic newsletter comes with other information, including a writing joke.]

5 ELEMENTS OF A SUCCESSFUL REVISION

By Bruce Hale

So you’ve finished that first draft and let your story marinate in its own juices for a while, and now it’s time for revision. Only question is: where to start?

With a picture book, that’s not too terribly daunting. But with a longer novel, you’d be well served to devise a strategy before plunging into those narrative hickets that can swallow the unwary writer. I suspect everyone has his or her own favored approach to revision. Here’s the one I’ve found most useful…

1. FIRST READ
First time through, the hardest thing is to *just* read your story and take notes. No line edits, no grammar corrections, no paragraph revisions — just reading. But if you want to be able to see the whole forest, instead of the individual trees, this approach is vital.

By all means, take copious notes. “Tighten the opening on page 43;” “wonky sentence on page 12, first paragraph;” “fix the plot logic in Chapter 18.” These are all helpful. And they prepare the way for…

2. FIRST REVISION
Once you’ve waded through your story and taken copious notes, congratulate yourself. It’s not as bad as you thought, right? (We hope.) With this optimistic thought, it’s time to roll up the sleeves and plunge into wholehearted revision.

The first time through, work on larger issues: plot holes, character inconsistencies, gaps in story logic, slow scenes that need to be trimmed, and so forth. You can always do the fine polishing later.

Revise sequentially if you can, rather than skipping around. For any sections that require you to write new material, use the same method you would in a first draft: write it fast and sloppy. After all, you can always fix it in the NEXT revision.

3. READ-ALOUD REVISION
Taking the time to read your work aloud may seem redundant at this point, but it’s necessary. You won’t believe how many errors you’ll catch. Homonyms, awkward phrasing, missing words, echoes (unintentionally repeated words) — all these will pop out at you like Halloween skeletons at a haunted house.

This is the revision where you can really focus on the sound and rhythm of your writing. Listen for those areas that sound clunky and don’t really roll off the tongue — that’s your cue to break out the belt sander and make things smooooth.

4. DIALOG REVISION
Once the story is as good as you can make it, and you’ve read aloud to catch hidden glitches, it’s time to turn the microscope on your dialog. First, make sure each character speaks differently. Have them use different idioms, word choice and catch phrases — otherwise, they’ll all sound like each other (or like you).

Top-notch authors like Elmore Leonard vary their character dialog so deftly, they don’t even need attributions (he said/she said). It’s that clear who’s speaking. In real life, we all have our own ways of putting things. So just make sure your fictional characters possess that same distinction.

5. FINAL CHECK
Before I send my story off to agent or editor, I usually try to let it sit for a week or so, then do one last read-through, to make sure all my changes fit, and to smooth out any remaining rough edges. This is an ideal time to search for words you overuse. (And we *all* overuse certain pet words.)

For example, I know that I tend to drop in “just” and “only” too often, and I tend to have too many characters shrugging and nodding. A quick search for these words shows me where I’ve overdone it, and a quick fix guards against too much sameness in the manuscript.

And that’s about all I can bear to write on the subject of revision right now. I think you know why. Yes — time to get back to revising my latest story.

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