Genrely Speaking: Historical Fiction










Sense and Sensibility

I still don’t understand how the man who made this film could have gone on to make… every thing else Ang Lee has made. Yes, it’s still romance month here at Nate Chen Publications and we’re wrapping it up with a true classic. This film is fairly old, in fact it turns 20 this year, but it’s based on a story by Jane Austen so it’s less a question of whether it’s aged well and more a question of whether it’s timeless.

Sense and Sensibility is two love stories in one, the first focusing on Ms. Elinor Dashwood and Edward Ferrars, a pair of people eminently suited to one another. Both are quiet, serious people of good sense who see in the other admirable qualities and good character. If this sounds kind of boring don’t worry, circumstances and previous history are very much set against them. There’s inheritances, overbearing mothers, previous commitments and general social standing to take into account, after all.

The second romance focuses on Elinor’s younger sister Marianne, a free sprited and sentimentally minded young lady who faces no obstacles to her paramour, John Willoughby, except that of Willoughby’s character itself. He’s a real cad, eventually proving to have gotten another woman pregnant and run from the fact. When he looses his inhertiance over the matter he leaves Marianne and goes looking for a wife who can support him. Marianne eventually winds up married to the kind, generous but reserved Colonel Brandon.

This story contrasts two different ideas of romance. The first is represented by Elinor and Edward, who don’t have a particularly exuberant or emotional connection. That’s not the same as saying they don’t connect, because they do. It’s just not in the big, expressive way most of the people around Elinor can understand. Marianne is even worried about her sister, wondering if she gets what love is. Marianne, on the other hand, falls hard and extravegantly. She practically throws herself at Willoughby (by the standards of the time) and takes not time to build a connection beyond a superficial emotional reaction. She never stops to see where she stands with him, instead building castles of dreams that ultimately prove to have no foundation.

Like all of Austen’s stories, in most of their adaptations, Sense and Sensibility takes a lot of time to look at the characters and how they relate to each other. With Emma Thomson and Kate Winslet staring as the two leading ladies we can see a lot of the contrast between the two characters, with the less expressive Elinor coming across as a woman who says little but feels deeply and the vibrant Marianne practically floating across the screen in most of her scenes. Of course, this is most effective when the romantic couple are together. Both Elinor and Edward and Marianne and Willoughby spend a lot of time in conversation. They manage to avoid boredom while clearly illustrating the character traights and connections that will eventually make Elinor and Edward’s relationship work when Marianne and Willoughby’s will fall through.

What I love the most is how the film manages to stick to a dry tone, rarely taking love entirely seriously but still recognizing that the people it portrays could very well be us. The mixture of humor and sympathy, along with an understanding of the importance in a meeting of characters and minds, as well as hearts, makes this a great romantic film. If you’ve never seen it, now’s the time to go and check it out.

Thunder Clap: Melting And Entering








“What was that?” Helix asked.










“That’s a fair assessment.”



Fortunately there were no problems on that front.




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Disappointment Deconstructed: Guardians of the Galaxy


Yeah, I don’t see it.








Poor Characterization. 


Plot Holes


Failed “Fun” Moments





I’m not holding my breath, mind you.


The O’Malley Serries

It’s the month of romance so we’re taking a look at a handful of romance stories that I feel really do romance right, avoiding cliches of sentimentality and accidental relationships and instead providing thoughtful, emotionally and intellectually satisfying looks at romance. This is going to be a particularly hurried look because we’re not looking at a single book but rather a series of six. The story goes like this.

Seven orphans meet in a group home in Chicago and start looking out for one another. With time they reach the age of legal adulthood, change their last names to O’Malley and declare themselves a family. The first rule of the O’Malleys is family will always come first. (No, nothing to do with Fight Club. Not anywhere in the rules.)

So far this probably doesn’t sound like much of a romance series, right?

Well, as it turns out the O’Malleys have found themselves a wide and diverse set of careers to work in, the family includes a U.S. Marshal, a hostage negotiator, an EMT, a firefighter, a trauma counselor, a forensic pathologist and a pediatrician. With such a crazy line-up of careers, and the kinds of personalities that tend to get into such careers, the only logical thing to do is try and marry them all off, am I right?

At least, such is the premise of Dee Henderson’s six book series that explores this wacky and unusual family and exactly what it might take to get such people to the alter. There are a lot of things I like about the O’Malley series but probably the biggest is the way the characters look at each other. Most of the couples meet on the job – no matter how crazy the job is, what they do is never a source of tension in the relationship. Way, way too many romance stories try to treat work as this terrible, horrible thing that will only be a barrier between you and the one you love.

What Henderson does in her books is show how the O’Malley family have chosen their paths as a result of the burdens they bear from their time as orphans or abandoned children, a way to fight back against the wrongs they’ve seen and suffered and make the world a better place. What’s more, she shows how the people who come into the lives of the O’Malleys understand the choices they have made. These are not romantic interests with no connection to the callings the O’Malley’s have undertaken, these are romantic interests who understand those callings and share in them.

In point of fact, each and every one of the O’Malley books centers on a situation that demands the unique talents of one of the family. Solving those situations, whether it be the murder of a Federal judge or a string of arsons across the city, brings one member of the family closer to someone they know or meet and sparks of a relationship built not only on feelings but on shared purpose and the promise of a brighter future. At the same time, the O’Malley family itself is drawing closer together, dealing not only with the promise of better futures but the troubles of jobs that are not always forgiving and the specter of hard times in the distance.

That’s probably what I like the most about the stories – aside from the healthy dose of suspense and intrigue next to the romance. They have a healthy emotional equilibrium. While each story has heroes and villains, romance and filial love, they also balance these things against very difficult personal problems that the O’Malleys have to face when dealing with a world that needs professional firefighters and hostage negotiators.

In a way, the O’Malleys themselves embody what makes their stories so great. Their powerful bond exists only because each and every one of them was once without family or friends and they are grateful for it every day and work to make it a continued reality every moment. It’s a good background for romance – one we can all try to cultivate, whether we find romance there or not.

Thunder Clap: Ups and Downs


The worst part was, it was a really good plan.

Both Circuit and I made a few adjustments but for the most part Izzy planned our general strategy in a very solid and flexible way. I guess I should have been proud of her, since she was a junior agent from my branch, but I hadn’t really had any direct influence on her training or really worked with her directly outside of occasionally being on hand when Jack or Teresa were running her through something. So mostly I alternated between feeling awkward at how little I was contributing and frustrated because Circuit was right there and I couldn’t do anything about him.

So for the most part, it was business as usual.

The worst part was finding out that Circuit didn’t know exactly where the master switchboard that gave Davis and his cronies control of the tower was. “I thought you cooked up this plan, Circuit,” I griped. “How can you possibly not know where the nexus of your plan is?”

“Contingencies, Helix, contingencies are all. There’s at least a dozen reasons the placement of the switchboard might need to change.” Circuit jabbed a finger at me. “You finding me or discovering a draft of my plans. Problems with the contractors who did the construction. Further renovations to the building. Other circumstances. There’s eight different places across six floors it might have been installed.”

“What’s the most likely one?” Izzy asked, prompting the hint of a smile from Circuit for some reason. Then she held up a hand and said, “No, wait. I have a better idea.”

Circuit and I exchanged a glance. He raised an eyebrow and said, “Such as?”

She went out into the hall where we’d trussed up the three thugs the two of them had been brawling with when I got there, using all but one of the sets of cuffs I’d brought with me.

For anyone else four sets would be excessive but for Circuit, it pays to be prepared.

I followed not far behind with Circuit’s chair struggling to keep up over the rough terrain. Yeah, that was another thing taking a lot of getting used to. Circuit was supposed to be a specter who loomed over my career with the promise of constant danger. He wasn’t supposed to be fumbling around in a wheelchair, laughing at my people as we unraveled everything he’d ever worked for. Normally, I’d think it was some sort of sham but with the wheelchair there, constantly reminding me of what he couldn’t do, it was hard to doubt any of the rest.

It didn’t help that the situation wasn’t leaving a whole lot of time for thought. I found Izzy in the hallway, ripping open the front of the hoodie on one of the three thugs they’d taken down. Underneath the baggy shirt was a complicated and bulky harness. She hefted him in one hand so we could look at him and asked, “Sykes, can you levitate this guy like you did the ones down in the basement?”

“It’s not levitation, per se…” He trailed off and thought for a second. “Well, I suppose the name is short for magnetic levitation. So yes, provided he’s near a relay. Which we’re not right now.”

“As long as it didn’t get broken earlier,” she said, hefting her thug up in the air and starting towards the elevator shaft.

I gave Circuit a curious look. He started to shrug but stopped with one shoulder lifted in a comical way. A smile slowly spread over his face, like oil over water, and he started his chair towards the elevator shaft saying, “I think I’m going to enjoy this.”

And that wasn’t worrying at all. It didn’t take Izzy long to get to the elevator shaft, she was hopping over debris like rubble strewn battlefields were where she’d grown up. Actually, considering where her dad’s church was located that might be a real possibility. For some reason the doors to the shaft were lying bent and twisted on the floor when we got there. I had no doubt how it had happened and I was more concerned about why we were there than why Izzy had wrecked the door earlier.

She shook the man she was holding gently, mixing in a smack or two, until his eyes opened and got halfway focused. Then she asked, “Where is your boss at?”

It’s amazing how belligerence focuses a person’s attention. The thug went from bleary eyed and lost to focused and angry almost instantly. He also pressed his lips together firmly and refused to say anything. After about three seconds of that Izzy got a grip on the door frame, hefted him up one handed and shot a glance back at Circuit, who gave a slight nod.

Then she threw him up the elevator shaft.

From the sound of the screaming he went up a good three or four stories before gravity took over and he came back down. This is known as juggling answers and it’s actually an accepted interrogation tactic for taxmen, the catch is you’re supposed to practice it a lot before you actually apply it in the field because if you miss the catch, or even just don’t make the catch quite right, you can wind up with a splatter mark and not an intelligence source. That’s why I’d been kind of leery when Izzy headed towards the elevator shaft. It was the only place in the building with enough room for Izzy to perform the juggling part of the trick but so far as I knew she’d never actually practiced it before. I was worried she was going to drop him.

In point of fact, she didn’t bother to catch him.

He went by so fast I almost missed it, even with the building’s power restored elevator shafts are dark places and by the time I realized what happened he was long since gone back the other way, his scream dopplering out behind him even as he found all knew levels of hysteria to vocalize. I stared at Izzy blankly for a second, she’d never struck me as the stone cold killer type, but almost as soon as the idea of saying something occurred to me there was a clicking noise from Circuit’s chair and the scream cut off. I glanced from him to the shaft and back. “You caught him with the maglev harness?”

“I did indeed.” He leaned back in his chair with a self-satisfied smirk. “Let’s see if he’s in a mood to be more forthcoming now, shall we?”

The guy was whimpering as he came into view over the edge, grabbing desperately for the floor before Izzy scooped him up by the back of the harness and shook him like a ragdoll. I felt a little sorry for him, a little, not that he was getting the crap scared out of him but I had been shaken like that once or twice in my life and my stomach twinged in sympathy. Izzy gave him an unforgiving look and said, “Want to point me towards your boss now?”

“You don’t understand,” he said between gasps.

“If I had a nickel for every time I heard that…”

“Agent Rodriguez,” Circuit said. “Please do keep in mind that if you handle him roughly and his harness breaks I can’t catch him in the maglev system.”

“Good point.” She adjusted her grip so that she had the man by the front of his harness and started to lean out into the elevator shaft again. “Let’s make it a little more unpredictable, shall we?”

“Wait, wait!” The thug kicked at the floor frantically in an effort to stay in place. The struggle got him nowhere but Izzy did wait like he asked.

“They’re on the seventy-eighth floor,” he said, calming down a bit when it became clear he wasn’t about go airborne again. “I don’t know what room they’re using but we checked in with a fat guy at the southeast meeting room.”

“I know the place,” Circuit said. “Sounds like Davis is there. Give him here, Rodriguez.”

Izzy handed the man to Circuit with a quizzical look but Circuit just shocked him back into unconsciousness. Between that, getting thrown around an elevator shaft and whatever beating he’d taken before I’d gotten there I suspected he was going to be in a lot of pain when he woke up again. “Right,” I said. “What floor are we on now? And how are we going to get that chair up to the seventy-eighth floor?”

“We’re six floors beneath where we need to be,” Circuit said. “And I was planning to just float my way there. The chair is maglev equipped and Izzy can jump the distance. How are you planning to get up there?”

“What’s wrong with the stairs?”

Circuit raised an eyebrow. “You mean, besides the fact that they’re very slow and the most heavily trapped part of the building? We can do better than that.”

I planted my hands on my hips. “Yeah? What you got in mind?”

“Hm…” Izzy was holding the unconscious thug up by his harness like she was studying an outfit at a shopping mall. She glanced at me, then back at him. “I don’t think he’s quite your size. Maybe one of the others.”

I looked from her to Circuit, who was nodding thoughtfully, and put up my hands. “Oh, no. I am not putting one of those on.”

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Beats to Scenes – Or From Outline to Story

It’s been a while since we looked at the mechanics of writing a story, how you take the germ of an idea and get it into something usable. Now outlining isn’t the greatest part of everyone’s creative process but personally, I’m a big fan of the beat outline. A lot of people seem to think outlining steals a lot of the spontaneity from a story. Some people have wondered how you go from outline to story at all.

I want to look at both these issues at once by showing how I think you jump from your outline to the scene of a story. See, I like to think that my outline is spontaneous when I’m creating it and my scenes are spontaneous when I’m creating them. Sometimes you’ll need to adjust your outline when writing a scene – usually by adding to it – but most of the time unexpected events while writing a scene just give you more opportunities to add twists to your outline that will be fun and exciting.

Each beat should be a specific event in your story. So, when that event happens, do the following:

  • Look at the characters that were a part of that event. A man getting shot in his apartment at night sets a very different scene from a man getting shot on a crowded street.
  • Decided which characters you want to talk about in the aftermath of that event. If they weren’t all there for it, figure out how they’re going to know about it. If the man shot was an off-duty cop his partner is probably going to hear about it from their captain, while if he was on duty his partner is going to know much sooner.
  • Ask yourself how your characters will react to that event. Was it good for them or bad for them? When setting the beats of your outline you think of them as good or bad for the protagonist but what about the other characters? The partner of a cop who gets shot is going to react much differently than the mobster who ordered the hit.
  • Decide what everyone in the story will do in response the beat your outline calls for. Then chose which of those responses are important to your story as a whole. Not everyone in a given scene has to have a response that you show in a given scene, some responses might be better addressed in a later scene, and sometimes characters who don’t fit in a scene have a response that is important to the story and you have to find a way to bring it to the attention of those in the scene. If the death of a cop spurs a criminal to start robbing banks it makes more sense for fellow cops to hear about it over the crime radio than for the criminal to announce it in person.
  • Look at your next beat and decide if it fits in the scene you’re writing or if it needs to be the start of a new one. A cop yelling at his captain about how to react to his partner’s murder? Probably a natural extension of his finding out about his partner’s death. But that same cop instead going to tell his partner’s spouse? That is probably better as a new scene.

Once you hit the point where a new scene is called for, go back and try and streamline the elements you’ve laid out. Juggle discovery of, reaction to and response to an event to create a nice cadence to your scene. Don’t let any one element take over and try not to let it drag out too long. Bigger beats will call for more time spent on them but on the whole you probably don’t want more than a page or two before the next beat occurs or the story begins to drag.

If you wind up with more than that you probably needed to break the larger point into multiple smaller ones. Knowing exactly how much beat you need for a scene is more art than science but in time most authors get a good grip on it and, for all those times you don’t, even as an experienced author, there’s always the editing phase.

It’s the reaction and response part of stories I love writing the most. There is where (for me) the spontaneity of a story lies and, with a good handle on where your story is going thanks to your outline, you should be able to let your characters stretch themselves and surprise you without going too far afield in your narrative. Most of the time, at least. And for the rest, well, at least you’ll see it coming quickly and only have to do a little remodeling of your outline, not completely stall out when you realize you’ve go no idea where you’re going anymore.

So happy scenecrafting! Let me know if it works for you.