Zuckerman is an agent, a writer, a teacher of writing. He has represented Ken Follett, Stephen Hawking, many others. When one character kills another, and they are strangers to each other, we see such an act as frightening, terrible, maybe even shocking. But when a child murders a parent or vice versa, or a brother slays a brother, such a deed strikes us as much more horrific. Zuckerman goes on to cite an opposite example from real life. A family from Utah visiting New York City was attacked by a gang of thugs on a subway. The son, defending his mother, was stabbed to death. True crime is usually a hot genre; a number of book proposals were put together, retelling this tragedy. But no editor thought that these elements would make a saleable book. The story was rejected. It lacked a strong interpersonal connection between perpetrator and victim. How do I use this insight myself? It sounds formulaic, I know. But it works. It worked for Sophocles. It worked for Shakespeare. It even works in the Bible. In the story bear with me a moment Barry Pepper, I Have Had Sex With My Brother Border Patrol agent in a flyblown town in west Texas, accidentally kills Melquiades Estrada, played by Julio Cedillo—a Mexican cowboy working for his dear friend, rancher Tommy Lee Jones. The short version is that Tommy Lee becomes enraged at the injustice and takes the law into his own hands. Over the course of several days and hundreds of wilderness miles, an unexpected bond forms between Tommy Lee and Barry. The story ends with these two men who hate each other coming to an odd and very moving understanding. But there was a problem with this story. The characters, except Tommy Lee and Melquiades, are strangers to each other. He wrote a flashback sequence in which Tommy Lee and Melquiades go honky-tonking with two women. Melquiades winds up sleeping with January Jones. Was this sequence necessary? Absolutely not. Now our Border Patrol agent, Barry Pepper, is not killing a stranger. Bottom line: the movie works and it works in large part because of this scene that links Character A to Character B to Character C, etc. In your own novel you presumably have set up or are thinking of setting up a central conflict between two characters. Can you tie those two together by making them into two brothers, two sisters, father and son, mother and daughter? Could they I Have Had Sex With My Brother been deadly rivals in some past endeavor? Could they have been unknown to each other but then discover intriguing and plot-influencing connections through a mutual relative, friend, teacher, lover? Again, I know this seems manipulative, even contrived and artificial. But art is artifice. Did Sophocles hesitate to have Oedipus kill his father and marry his mother? That was the whole point of the drama! Steve shows you the predictable Resistance points that every writer hits in a work-in-progress and then shows you how to deal with each one of these sticking points. This book shows you how to keep going with your work. Having failed with three earlier attempts at novels, here's how Steve finally succeeded. Steve shares his "lessons learned" from the trenches of the five different writing careers—advertising, screenwriting, fiction, nonfiction, and self-help. This is tradecraft.
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