FLYING TO LOS ANGLES BY TIM GAGER
Story about a bicoastal trip, becoming a pretend-father, and becoming boxed in with Dominos.
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Tommygoround |
FLYING TO LOS ANGLES BY TIM GAGER |
Lead | |
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Maybe Tim will give us some background.
FLYING TO LOS ANGLES BY TIM GAGER Story about a bicoastal trip, becoming a pretend-father, and becoming boxed in with Dominos.
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timothygager |
the story | ||
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The story of this story....It was written when I just got separated and started the misery of being single again. The protaganist is based on me with a spice of previous alcoholism. The child was written in because I take real pride in being a father and the juggles it takes. There is great irony in the fact that the kid wakes up and there is someone he's never seen before, but waffles is the fix. I've never really brought children into my stories but in this case it provided the only realism, the only realistic touching humor and a point of contention between the man and the bully.
The part of the bully is played by Ray Liotta. I was thinking of some of his pure evil characters, the sarcasm, the intimidation, the ruling voice of the pizza. He is the Liotta from "Something Wild" Finally you get good relationships, bad relationships, they rarely work out. You can always fall back on ...family! In reality I don't see my family much. I do have a sister in California. The lure of other activities (not the type in this fiction) would be what it takes to get me there in real life. This story is available in thier print anthology, Fish Drink Like Us. |
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iainuts |
Re: the story | ||
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Hi Tim, Kevin is a nicely developed character. In fact all the characters are. I think the use of stereotypical tat's and the dialog really helped create an image of a dad that's a little over the edge. Then the contrast with a man who's utmost concern is his children and an ex that's incapable of acting motherly really makes it interesting. Kudos!
Do you find it easy to create such characters or do you have to work at it? How do you know when you've got your characters down? Any suggestions regarding character development would be great! |
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timothygager |
Re: the story | ||
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It can be hit or miss. I don't go into the story thinking character specifics. I do have an image of them in my head and a role I'd like them to play. The develope as characters as the story developes. "Show don't tell" is key whether that is through dialog or through actions. To have a well tuned character the reader must draw their own conclusions on them based on the clues or backgrounds you give them.
For example a character that is finicky about his appearance you could easily say, Herby was finicky about his appearance. Better to describe Herby getting ready for work, pressing his pants, spraying Fabreez on his sweater and throwing it in the dryer. When he spills a small spot of coffee on his shirt, have him have a Tide Stick handy in his pants pocket. I'm sure you all know how to do this, I apologize if I'm talking down to anyone. |
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Twist 101 |
Re: the story | ||
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Nice story, Tim!
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Tommygoround |
Re: the story | ||
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it's not talking down to anyone: more like a good reminder.
Hey Tim, What are your thoughts on the 'modernist' since Kerouac. I've seen a few of your stories with a down-trodden theme. Do you figure we are all going Shopenhauer, that modernist are "realist" instead of Little House on the Prairie tones and themes? Seems to me that the reality check is there. We know now that many of the popular sitcoms of the 1950's were frought with cantankerous behind the scenes antics. Lucille Ball got in fist fights with Ricky. People cheated on the quiz shows. Jesus may not have been in their hearts even if he was in their mouths. Question: has anyone seen a modernist write with upbeat theme? I'm looking for a modern version of Heidi (not a Pay It Forward) but perhaps a Dickens story of beauty and warmth. Maybe Scrooge was a real scary bastard 200 years ago... today he is archetypical, trite, and something outdated. Would you figure that our _modernistic_ dramas will be considered "cute" in the future? (Probably so). Good story. I must be thinking aloud. |
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iainuts |
Re: FLYING TO LOS ANGLES BY TIM GAGER | ||
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Hi Tim, thanks for the comments. I'd agree with all your points on character development, and they are fairly basic as you say, but it seems to me there's a knack to it that a few people have, but many striving writers don't.
Quote: I was thinking along the same lines recently. Seems as if there's always a gradual change in stories for entertainment, especially film, in which each generation attempts to improve on or outdo the previous. Still, there are classics which will always be remembered. Perhaps the reason has to do with how people empathize with the characters. We want to feel like we know the characters, especially we want to see ourself in them. I think more than anything, great character development is what makes a story. |
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timothygager |
Re: the story | ||
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I guess you write what you know. Modernists that write positive....interesting question? Off the top of my head many bestselling books or novels which are positive are also viewed upon as being "superficial".
"Chick Lit" is popular but not on the fast lane to historic notoriety. Tom Perrotta or Steve Almond tend to not write about skid room protaganists. Almost all the lists of best fiction ever have less than savory characters or story lines, so what you mention is not a recent trend. |
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Unregistered(d) |
What a discussion | ||
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I can't recall the last I read or watched something that was happy without it being called 'trite' by literary people.
Why does good literature have to be depressing. |
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timothygager |
Re: What a discussion | ||
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It doesn't.
People don't have to suffer for good/better art either. |
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