Books on Film: Terms of Endearment

Terms of Endearment is one of those movies that everyone's seen, or heard about, or wanted to watch. But before Shirley MacLaine and Debra Winger made it an iconic film, it was a pretty popular book...and it was a different story. 

The Book

Larry McMurtry published Terms in 1975. It begins with Aurora Greenway, an attractive and very controlling woman. She has many boyfriends, but her life is thrown into crisis when she discovers that her young daughter Emma is pregnant. Emma married the wrong man, and will now bear his child. This makes Aurora a grandmother, and this is upsetting. After a date with a gentleman caller known as The General, Aurora hits Vernon with her car.

He becomes another boyfriend, and he becomes as besotted with her as the others. She won't marry him, or any of them. The novel follows Aurora's various dates and love affairs, as well as drama with her maid Rosie. Emma goes into labor the same night Rosie's husband is stabbed. This first part of the book takes place over a 6-month time span.

Then, shockingly, the novel fast-forwards a decade...and suddenly switches to a different point of view. Emma is now the focus, and her marriage to Flap has degenerated terribly. She's had many affairs, but won't leave him. Then, Emma gets cancer and suddenly dies.

It's a strange way to end the plot, and a bit meandering. Why did we go see Emma's death? Why does the tone of the story change? One can only guess, but it's worth reading the novel because it is well-written. McMurtry is particularly good with dialogue, and Aurora is an inherently likable character.

But the book is not much like the movie. The movie is based on, perhaps, the first quarter of the book...and it's got Jack Nicholson. 

The Movie

Terms of Endearment became a movie in 1983, and it still appears on cable at least once a year. It's still talked about, and spoofed, and referenced. It's that good.

Viewers are introduced immediately to Aurora Greenway, who seemingly drives her husband to despair because she is so over-protective of their infant daughter, Emma. Many years later Emma is a young, somewhat rebellious and fun-loving girl who will do anything to escape her smothering mother...even marry Flap, whom Aurora despises. 

Emma is very happy to marry him, and even to move into a miserable shack of a home with him. Flap is a scholar, a teaching professor, and he's never going to make a ton of money. Aurora is heartbroken when he gets a job far away from their Texas home, and Emma is forced to move away.

They begin to talk on the phone every day, and the years pass. Flap and Emma have a son, then another. But marital problems make life difficult. Much of the trouble seems to stem from their lack of money; they borrow often from Aurora. Emma gives birth to a daughter, but nothing gets better for the family.

She meets a very nice man, also married (played by John Lithgow), and has an affair. This she tells to Aurora, because she tells Aurora everything. But when Emma discovers that Flap has been having an affiar of his own -- and much more serious -- she goes back to Texas. Flap calls to coax her back to their new home in Nebraska, and Emma and the children go. 

Then she gets cancer and dies. That part remains the same. While Emma is living her life, Aurora is living hers. The General becomes the Astronaut instead, actually Garrett Breedlove (Nicholson), Aurora's new neighbor. He alone seems immune to her charms, and he alone seems to ruffle her feathers where other suitors cannot. Nicholson's character is nothing like The General from the book. He dumps Aurora after seeing Emma and the three grandchildren, but unexpectedly flies to Nebraska while Emma is sick with cancer. 

Aurora forcibly explains to Flap that she will be raising the three children henceforth. At the wake following Emma's funeral, Garrett assumes a fatherly role toward Tommy, Emma's oldest boy.

The film was highly successful and went on to become a modern classic. It won 5 Oscars and great acclaim for strong performances from the principle and supporting cast. 

What Got Adapted?

When the book begins, Emma and Flap have already been married for two years and he's already a total jerk. In the movie, we get to see Emma right after graduation. We get to see her marry Flap, and smiling, and totally in love. They're passionate for each other. None of that is in the book. 

Also not in the book is one of Shirley MacLaine's most famous scenes in her epic body of work. In the scene, Aurora Greenway gives everyone in the hospital hell because they've forgotten Emma's pain medication. It's wrenching...and it's original to the movie.

So you should watch the movie. If you love Aurora and want to know much more about her, read the book. Otherwise...well, watch the movie again.

Writing 101: Every Author Needs Secrecy

Do you talk about your books before you're done writing them? Share tidbits and excerpts before the final draft is done? Ask questions about what readers want?

Stop. Every author needs secrecy. Otherwise, you end up writing for other people...and not for you.

Shhh....

Every writer has their own process, but there are some universal truths when it comes to writing a book. And one universal truth that really matters: stories change.

I thought about a book I wanted to write for years and years, from the time I was a child. Finally I decided to start bringing it to life. Originally, the story was going to be told from the daughter's point of view. I was going to kill her mother early and the whole story was going to be about this girl's struggle.

I started researching, and planning, and imagining. And pretty soon, I wasn't telling the daughter's story at all. I was telling her mother's, and she did not die. Everything about that book changed, from love interests to plot to the big ending I envisioned. And when I was done, only tiny pieces of my original plan remained.

Stories have a life of their own. If you interrupt a story's natural evolution by spilling too many details to too many readers too early, you are doing the story (and yourself) a great disservice.

The truth is, you don't know what you've got until the story is finished. You don't know where the process will take you. But you do know one thing: you need room to go in new directions. You need space to make changes and new discoveries.

You need your secrets. Because those first ideas are going to change, and stories are going to grow. Let them, and don't lock yourself into a plan too early.

I didn't talk about that book until the first draft was written. I just let it evolve and take me where it wanted to go. That book is my favorite thing I've ever written.

Hold tight to your secrets. As an author, it's the secrecy that gives you your greatest power. When you give secrets away, you're shutting out creativity. So just remember this one piece of advice: shhhh.

Guest Post: Writing Takes Work

Today I'm pleased to host Sarah-Jane Lehoux. She's stopping in on her Sevy Series Blog Tour to talk about the hard work that goes into writing. 

When people learn that I’m an author, at some point in the ensuing conversation, they’ll say, “I could never write a whole book!” To which I say, “Of course you can. IF you actually tried.”

Anything You Can Do...

See, humans are born with an imagination. We are born with the ability to remember past events and ponder on the future. We have a brain that can learn and grow and reshape pathways and all sorts of other neat stuff. It’s pretty impressive, the human brain. 

I could look at a doctor and think, “Oh, I could never do what she does!” But you know what, yeah, I probably could. Sure, some people inherently lean more towards certain professions than others, but that’s just the start. What comes next is years of hard work, trial and error, and *GASP* learning. 

I very much believe that anyone can become a writer, if they put in the work. Because that’s what writing is. Work. Damned hard work. It’s not as though I just sit down and BAM!!! Instant book. It takes practice. It takes a lot of frustration and a lot of days where I want to repeatedly bang my head against my desk, a la Sesame Street’s Don Piano.  

You’ve got to crawl before you can walk. And you’ve got to write pages and pages of crap before the words start forming a more pleasing structure. 

At the end of the day, it’s all about desire. How badly do you want this? 

I decided long ago that being a writer was what I wanted, and I continue to push forward, through setbacks and successes alike, because I’m not giving up on what I want just because it’s a difficult road. After all, a dream is just a goal without a plan. 

So dream big and plan wisely. And that’s how you write a book. 

About the Author

Sarah-Jane Lehoux has always had a passion for storytelling. From grade school tales of cannibalistic ghosts, to teenaged conversations with God, to her rebellion against adulthood with fantasy kingdoms and fairy magic, she has attempted to share her love of the quirky and unconventional with her readers.

She currently resides in Southern Ontario with her husband and her horde of Machiavellian cats. In addition to her own writing, Sarah-Jane works as an editor and freelance cover artist.

Books by Sarah-Jane

Thief 

Happily Ever After Doesn't Come Without a Price

In the crumbling city of Eloria, there are two indisputable facts. First, everyone has a dream. Secret, seemingly unattainable, altogether irresistible, it is the kind of dream that aches and, at times, burns. For most, it will forever remain a teasing enigma, but there are those for whom dreams grow into obsession. Which brings us to the second indisputable fact: everyone has a price. Protestations of morality have little meaning when confronted with the all-consuming passion of the soul. Better judgment is pushed aside for the chance to obtain the unobtainable. The only question remaining is just how much a person is willing to sacrifice in order to get what they want.

Sevy has always been a quick study in the wicked ways of Eloria. Since childhood, she has eked out a living for herself with the help of her sticky fingers and her indomitable spirit. She has no qualms about taking what she desires, and when the unrequited love of her life is mysteriously murdered, Sevy will stop at nothing to get him back. Elvish black magic, necromancy and demonic pacts are of little consequence if it means she can once again have her beloved at her side. But is she willing to murder her only friend to get the job done? Is there a line that even this selfish, self-proclaimed bitch is not prepared to cross?

Shades of War

There is More Than One Road to Redemption

Sometimes the past can't be forgotten. Sometimes the truth refuses to be buried. And sometimes the dead won't stay dead.

It began as a simple request: Journey to the Northern Jungles and bring a wayward son back to the safety of his farm and family before the racial tension that is building between humans and dark elves erupts into civil war. But life is never simple for Sevy, and she soon finds herself entangled in a bloody battle of good versus evil, love versus hate.

Old friends and enemies reunite, familial bonds are broken, and loyalty is tested. And in the midst of the steamy, sultry jungles, the ghosts of a serial killer's victims come out to play. Sevy, as petulant and irascible as ever, must overcome her personal demons in order to expose a madman and bring peace back to the kingdom. But just how much of her sanity must she sacrifice to help her friends? And how can she save anyone when she can't even save her own soul?

Masquerade

Never Trust a Liar, especially when they're telling the truth.

Starting over isn’t easy, especially when the world isn’t ready for you to change. Sevy, thief turned assassin turned mercenary, isn’t having any fun adjusting to a normal, law-abiding life. Luckily for her, an old partner in crime arrives with an irresistible proposition: a getaway to a tropical island, an adventure of a lifetime, and an amazing friendship ready to blossom into an even more amazing romance.

Things are looking up for Sevy. That is, until a pack of maniacal fairies with a taste for human flesh arrive on the scene.

Now she must unravel a web of magical intrigue hidden behind the outwardly idyllic atmosphere of the islands of Belakarta. Nothing is as it seems, and no one can be trusted. Trapped under the spell of a handsome and mysterious stranger, Sevy must fight fairies and tricksters to regain her freedom.

Or spend an eternity as a sorcerer’s plaything.

Obsessing About Justice

"I was so obsessed in it and couldn't stop talking about it."

Read the review of Justice (Deck of Lies, #1) at Karen's Choice to find out why the reviewer can't stop thinking about the book!

Writing 101: How to Set a Mood

Ever read a book that made you feel happy? Hopeful? Scared? Some authors know how to play with your emotions, and it's a skill that can be learned. Find out how to set a mood with your writing, and start jerking on those heartstrings.

Evocative Words

You can say that hamburger looks tasty, or you can say it looks mouth-watering. Which description made you feel the hungriest? Certain words and phrases evoke certain emotions, and it's the author's job to figure out which ones to use to create the right emotion in the reader. 

Was Jessica upset or was she in despair? The mood created by each word is very different, though either might be appropriate to describe the mood of the character. When you're writing, it's important to pay attention to the way certain words and phrases make you feel -- because if you feel it, the reader will probably feel that also. Do you want them laughing or crying? Groaning or gasping? Feeling hopeful...or hopeless? The words you choose do all of that, so you have to choose well.

Setting the Pace

The words you choose are of course the most important element in any book, but there are other ways to set a certain mood. Do you want the reader to feel the boredom of a long day, the tedium of a strenuous task? Write longer, thicker paragraphs with more details to slow down the pace of the book and create a mood of inactivity. Want to make the reader feel a little more rushed, frantic? Write shorter, choppier sentences in quick, small paragraphs. Make details come hard and fast when you're creating a chaotic mood, describe them slowly when you're creating a moment you want the reader to live in for a while. 

Setting a mood is all about pacing, proper word choice and of course, the action that's taking place. Focus on mood when you're writing your scenes, and your writing will come across a lot more strongly. Readers will feel it more, and they'll connect with it more easily as a result.

Writing 101: This is How We Emphasize

In real life, people commonly shout when speaking with great passion. Sometimes in real dialogue, people stress certain words or phrases without raising their voices. This is how we emphasize when speaking. Now, you need to master the art of emphasizing words when you're writing. There is a standard that authors use. Learn it to be one of them.

What We're Yelling About

There are a lot of different ways to use writing to show emphasis on a particular word or phrase. Sometimes, a simple exclamation point is enough. 

"Wow! I didn't know Johnny had a power boat!" 

Clearly, the person speaking is doing so with a great deal of enthusiasm. One can infer that they're speaking rather loudly and with some emphasis, because of the exclamation points at the end of each thought. There are other ways to show passion in dialogue. 

"She said what about my hair?"

The emphasis on the word what shows that the speaker has put emphasis on this word, saying it more strongly than others. This clearly displays emotion -- perhaps dismay, anger or surprise. Without the emphasis, the question becomes curious instead of passionate:

"She said what about my hair?"

And then there are times when people shout -- loudly. To show this, many writers use all caps to put emphasis on the words.

"I told you to GET OUT OF HERE." 

The speaker begins to shout when they repeat their instruction. Using all caps is a very effective way to convey a shout, and this is commonly what's used to express shouting, but you don't want to over-do it. All capital letters is very distracting; it pulls the eye and that takes away from all the rest of your words. Use this only in moderation. Stick to italics and exclamation points to show emphasis in situations when an extremely loud shout is not needed nor appropriate.

When it comes to using bold to put emphasis words, just don't do it. This is not the standard in writing. Bold text is used only for headlines and subject lines. In everyday dialogue, bold text just has no place whatsoever.

Swept Away with Justice

"A tornado of chaos with crosswinds of lies and deceit."

Justice (Deck of Lies, #1) has been reviewed at the Coffee Pot. Read it to find out what the reviewer didn't like about the story...and what they did!

Writing 101: Story Within a Story

Writing a story within a story is one of the most common literary techniques, and used so often you may fail to notice every time it's happening. Character dreams and remembrances can be a story within a story, though in the most traditional sense when this device is used you'll be following two different plots. Either way, it's a risky writing move. When it's done well, it can be great. When it's done poorly, readers end up hating both stories. 

A Tale of Two Stories

If you read novels regularly, the story-within-a-story scenario is pretty much unavoidable. It's going to crop up in the form of diary entries, newspaper articles, perhaps a book the character is reading. To name just a few of the authors who have used this technique, I present Chaucer, J.R.R. Tolkien , Edgar Allen Poe, J.K. Rowling and Herman Melville.

At times, the story-within-a-story technique is done remarkably well. Fried Green Tomatoes has two separate plots that unfold together, though one takes place many years before the other. Each story is interesting and engaging, and each has characters that are worth reading about.

But I've also seen it done very badly indeed, and I'm not going to name any specific examples. I have noticed certain elements at play where the story-within-a-story is concerned, however, and many of the same elements are always in play when I absolutely hate it. 

• Suddenly, from nowhere: If the reader gets past the middle of the book and suddenly a very long story-within-a-story appears, this is annoying. It unexpectedly interrupts the flow of the main story, and this is where the focus ought to be as the reader nears the conclusion of the story. If you must insert an extra story here, keep it brief. 
• Weirdly unrelated: If the story-within-a-story has pretty much nothing whatsoever to do with the main plot, I'm going to be spending the entire time wondering why the heck I'm wasting my time. Chances are good that I'll simply put down the book. 
• Brand-new style: It becomes off-putting if the story-within-the-story is told in a very different voice with language that reads differently than the rest of the book. The story may be told by another narrator and I get that, but it still takes away from the overall cohesiveness of the book. Remember that every novel should read as a whole, and that includes all the stories within the story.

If you're telling a story within a story, make sure that story has an important purpose. Otherwise, you're wasting the reader's time...and they'll end up hating all your stories.