'The Witcheye Gene' - Thrillers and Auras

 Writing Thrillers and using Auras

When I was writing my second book ( The Witcheye Gene) I thought it would be interesting to use the paranormal-type phenomenon of auras. I was quite surprised when my research turned up the fact that it was not strictly true that it is entirely a paranormal/supernatural occurrence. My dictionary defines an aura as “an atmosphere or quality of air considered as indicative of a person or thing” but I think that meaning is not quite the same thing. After all, I think we can all recognise that an angry person can exude a certain aggressive-kind of vibe. This person could be said to have an aura about them.

The other meaning of auras is to forewarn of impending epileptic attacks or migraines etc. They indicate the brain is signalling to the sufferer that it is about to happen. These auras can take different forms such as certain smells, sounds or tastes that are experienced by the individual. So an aura in this case can be an important early warning system.

But the kind of aura I am talking about in supernatural thriller writing is the kind of aura where a person is said to have a luminous radiation of light or energy around them that can actually be seen by people who have special powers. There is lots of controversy about this phenomenon but in the land of the paranormal it is exactly the kind of thing that adds flavour and mysticism to a story. And allows a great deal of license in designing credible plot line… I think I used it to good effect when my character – who had a measure of supernatural power – could seea very dark aura around a character.

There are said to be 7 layers to an aura with each layer relating to different human characteristics, and each layer has different colours and different frequencies. So the light wavers and changes colour. Attributing characteristics or using the aura to highlight true motivation is also a useful plot device. For instance an aura could be red signifying suppressed anger or blue signalling calm and rationality. It could be orange for health and vitality or yellow for inspiration and intelligence. Black, of course, would be about evil intention or death… These are simply suggestions but I’m sure you can see how it could be used for good effect. Or maybe not…

In real terms, it seems that we all have an aura – even worms and insects have them – for they are simply magnetic energy fields. It’s just that most people cannot see these fields with the naked eye. Makes for juicy story lines, though… Don’t you think?

 

Premonitions - To See or Not To See?

Premonitions may be quite useful in thriller writing – they can and do indicate future events (often going horribly wrong) and they can be arbiters of death, dying or even some cataclysmic world-wide happenings.

Premonitions fascinate us because our understanding of how things can be foretold (or foreseen) without the aid of the usual human senses does not lie within the normal limits of our innate abilities. How can a person look into the future and – some would say - why would a person want to look into the future?

Through the ages, from time immemorial, there are countless instances and stories about premonitions and seeing future events that could not possibly have been foreseen. Or so it seems…I think most of us would agree that there are stories where we are stumped for answers and a quick straw poll of any largish group of people would, I am sure, come up with one or two stories that defy the laws of existence. And it all adds to the mystery…

One of the most famous people who claimed to foresee the future was, of course, Nostradamus. His writings and prophecies are with us still today – 500 years later. When I looked up his work and his life I found the following:

“Recent research suggests that much of Nostradamus’ prophetic work paraphrases collections of ancient ‘end of the world’ prophecies (mainly Bible-based), supplemented with references to historical events and anthologies of omen reports. He then projects those into the future in part with the aid of comparative horoscopy. Hence the many predictions involving ancient figures such as Sulla, Gaius Marius, and Nero, as well as his descriptions of "battles in the clouds" and "frogs falling from the sky."

But even when all the charlatans are taken out of the equations we still remain fascinated with the idea that some people can predict the future and some ordinary people can have ‘once in a lifetime’ premonitions ( especially about a loved one).

In my own writing (The Witcheye Gene) I used the concept for one of my characters but the visions only came about because of a particular familial characteristic of different colored eyes. And it was quite limited otherwise it can seem contrived and in the worst way seem like a ‘deus ex machina’ . But I did find it quite fascinating to research and include it in my plot. It actually ratcheted up the tension when one person could foresee something but no one else believed them.

 

Do you beleive some people can 'see' the future in some form or another? Have you ever used the idea in your own writing?

 



Plots, Plague and Psychoanalysis

P- Plot

Working up plot ideas.

 

There is lots of advice available about developing plot and themes for stories but one of the best tips I have come across was to write down thoughts as they occur, in the form of a kind of conversation. 

At the very beginning of my novel “The Witcheye Gene” I had a string of rather vague concepts but no coherent plan. So, after germinal ideas about the plague, mother love and sudden death in childhood, I decided to try out the technique that I first learnt about in David Morrell’s Lessons from a Lifetime of Writing. He recommends writing as you think through plot ideas, rather than thinking first then writing an outline. He maintains this allows a writer to have a conversation about the story without the risk of the best notions ending in the air because the ideas materialise as the writer writes and thoughts occur. The person the writer talks to is, of course, the alter ego. David Morrell says this technique, “encourages you (the writer) to delve below the surfaces of a conventional outline so that a richer book has the potential to be written.”

The question ‘why?’ seems to be the most helpful (although all the ‘W’ questions are used e.g. where, who, what, when) as it makes you think about why you want to write this particular story and why you think the plot/theme is important.  It also clearly helps with making the characters fully rounded and properly motivated.

This kind of writing is also a form of psychoanalysis and helps when the ideas just won’t move forward. I tried it and found it to be a wonderfully liberating exercise and make no apologies for the introspective nature of the discourse. My ‘Conversations’  document shows my thought processes developing the story ideas, and together with a premise, helps keep me on course when moving towards some kind of outline.   It is also extremely useful if, like me, you sometimes go off course and need to get your thoughts back into the main thrust of the story. It provides a kind of road map. Subplots can be woven in and kept in check a bit easier too.

Do you have ways of keeping on course when plotting a new story? Do you plan? Or do you just write?

Scribe, describe, or imbibe?

Recently I have been ruminating on my writing career to date (in between sips of an excellent rioja!) Describe or imbibe? Or maybe it should be 'To scribe or not to scribe'?  Mmmmm....  That sounds a bit dramatic - or more likely rather silly!
No, I am not giving up putting words on paper ( or keyboard as it seems nowadays) but rather trying to evaluate on where I'm at and where I want to go in the future.

I have written four complete novels of which I am immensely proud and I have absolutely loads of articles and shorts on my computer as well as the skeletal beginnings of more novels - one of whcih is my current WIP. The issue is whether I want to give up on the dream of having my work published by a large traditional publishing house or not. I do believe ebooks are the way to go and my last published tome is, in fact, an ebook as well as a paper book.

This is perhaps, where I do a bit of a plug for this latest ebook - 'The Witcheye Gene' The back cover blurb is reproduced here to hopefully interest one or two to take a peek at it.

The Witcheye Gene
by P J Newcombe

The Witcheye Gene

Kendal MacIntyre has fought long and hard to overcome the emotional scars of an unhappy childhood to create the successful boutique business she now has. Having lost her husband to cancer she is driven by one thing only – to see her daughter April have all the advantages in life that she herself was denied. So when someone appears to be snooping, she is terrified that her shameful secret will wreck April’s chances in life and she stubbornly refuses to acknowledge the hereditary trait of ‘special’ sight. But when an evil killer threatens the very existence of her family, she knows she must face her demons if she is to save the one thing she cares about.

Available on amazon kindle - £2.29

My latest unpublished novel is doing the rounds of agents and publishers but I, like many others, am considering simply publishing it myself as an ebook.

So have you had similar thoughts about your own writing? Do you think ebooks are the way to go?

Big Bold and Whacky

A Perfect Hero?

In deciding on a /hero/protagonist in my thriller writing, I always try to go for a character who seems to be larger than life; in other words a memorable character. Whether I succeed or not is, of course, up to the reader but I do think long and hard about what he or she is - as a person.

The most memorable characters in classic literature are usually big, bold and maybe a little whacky. They are generally beset by inner conflict and most certainly have to deal with outward conflict/tension as befits the story.  The hero is striving for something: He either desperately needs something or must accomplish something to save others. But he is thwarted by the antagonist (evil one) along the way. This may make certain character traits more inevitable than others. For example a willingness to persevere despite all the odds is often a trait that many story hero’s share. So that their persistence eventually pays off at the end of the story.

But I think it goes much deeper than that. If a character has a certain trait it must be believable and come from somewhere in their past. This is where I find doing background stories so fascinating.

For example, a hero may be dogged because he learnt early in life that staying the course pays off. Maybe his father was a patient fisherman and taught him likewise. Or he may have had to stand up to bullies over and over again in defence of a mild-mannered friend. All similar incidences go into my background memoire of the character and some may even end up in the story.

I try to make my hero/character imperfect, faulty and with some human frailties as well as admirable traits that my reader can root for.  In this way I can make the transformation at the end of the story, much more realistic. I think this enables the reader to identify with and empathise with the main character. After all no one is perfect.

So how do you decide what kind of person your main character will be? Do you do background stories or wing it as you go along?

For samples of my fiction please visit http://www.patricianewcombe.webnode.com/

Or see my latest thriller novel:

My book 'The Witcheye Gene' now available on Kindle at £2.99