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ziracona · 4 years

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Do you have any tips for people who want to start writing? Specifically dialogue or how to research thoroughly?

Sure! For starting writing in general, the best advice to start with is look at the stories you yourself love, and identify what you love most in them. Relationships of a certain kind, high-stakes fight scenes, murder mysteries and scenes where people have to choose under pressure who they’re going to trust, redemption arcs, someone ending up adopting a child more or less because the kid has no one else to look after them? If there are scenarios you daydream about writing stories in your head, what are the common themes? No matter how oddly specific that gets or how often or scarcely you see it in fiction, I garuntee you you’re not the only one who likes it, and it’s good to base writing ideas around whatever you want to see more of yourself. You’ll be happy writing it, and the other people who yearn for it too, once they find you, will be very happy to see some as well! For me, I’ve always really enjoyed stories where someone who has no connection to the action ends up choosing to do the right thing and gets pulled into dangerous scenarios, found family, hope punk, and scenes where someone is injured/sick/drugged/unconscious/trapped and ends up at the mercy of someone they expect to hurt them, but who chooses to do absolutely nothing bad to them and saves/helps/looks after them instead (to name a few of many, many faves, haha). Some of those are pretty broad and some are wildly specific, but I love writing them all, and I’m not the only person who enjoys reading them either, so it’s a great kind of springboard to work with. : ) —Ok, for the specific questions though—I’ll do them in two parts to go with the two questions.

For writing dialogue, the biggest thing is to establish distinctive voices for all your cast. That sounds a lot harder than it is. The first real step is just to have some idea who they are as a person. Now, I know you probably don’t have time to be Bleach and have a sidebar backstory that goes for eleven pages about every guard who gets knocked out (and tbh I wouldn’t recommend it either haha), but don’t worry—you don’t need to. A lot of the time, I know very little about characters who aren’t primary cast when I write them first, and only during writing really get to know them either. Think of it a little as improv acting. If you ever have like, done bits with your friends, you actually know how to do this whether you’ve acted a day in your life or not. Friend greeting you on the phone with a fake accent & pretending to be an interviewer & you responding in kind & being like “Well yes, in my best selling novel How to Kill your Ex-Boss” and just running with it totally counts. You have no idea who the person you’re pretending to be is. You don’t know their favorite food or where they went to school. But you do know what they’re going to say next, because you’ve tapped into the person you’re running, and that’s the only thing you need to know. Same if you have ever given yourself fake interviews in your head. You’re playing both interviewer, fiction self (for whom you are for SURE making up details on the fly) & anyone else involved in that scene simultaneously. Writing can be pretty similar. Now, I do this to a bigger extent then most people, because I method-write (which uhhhh, I cant completely recommend, as it is devestating on the emotions :’-] ), but it works used less extremely too.

The idea, really, is to give characters a voice in your head, and have that voice not be the same for any two characters. And I mean voice literally. What do they sound like. Do they talk fast, get excited & into topics easily? Always sound mildly done with everyone else? If it helps, pick the voice of an actor or a friend or different tones you can use yourself speaking outloud—just give them voices. A lot of it will start flowing pretty naturally once the character is created. Writing has a lot of overlap with acting, in that you really need to grasp and be able to kind of jump around in a lot of different types of peoples’ heads. Most people have significantly different ways of speaking, even if they don’t have different accents than your other characters. Some people cuss more, some never do, you get varried vocabulary sizes, and just word choice and tone. I’m probably making this sound a little hard and overwhelming, but trust me, it’s not so bad. Mostly it will come naturally once you get a mental idea of what your character is like, sounds like, and the vibes they give off.

From a more technical standpoint, a couple of really good suggestions are to run dialogue in your head before writing it, and to read your written dialogue out loud. No matter how well you write, you will think dialogue better most of the time. This is just how it goes, because writing is a different process. So something that helps is to mentally “play” a scene out, and jot down some of the dialogue as you hear it, or to pause in writing to run some of the scene mentally, then pick back up again. Another big one is that almost all people, when writing dialogue, will start out writing too formally. Now, that’s totally fine if your character actually just speaks very formally, but most people 80% of the time speak using contractions. Like, you’d probably say, “Hey! How’re you doing? It’s been a while, hasn’t it?” and not “Hey! How are you doing? It has been a while, has it not?” (And obviously, most people aren’t going to actually write out “has it not,” but simpler ones like “How are” vs “How’re” or “It is” vs “It’s” are super common to write. Try to keep that in mind writing dialogue, and also try reading your dialogue out loud verbatim. A lot of the time, something will read totally normal to you, but the second you hear it out loud, you’ll go “Oh. Oh, no. No one speaks like this.” It is SUPER helpful, and kind of funny too. Also, don’t be afraid to use verbal interrupters like “Uh” or “Uhm” or substitues for them like “Well” and “Like” —people use ‘em when they speak. We also tend to interrupt our friends to agree when talking about stuff, because the way language is set up a lot of the time you know the end of a sentence before it is said.

Other things that govern how characters speak a lot are their comfort level in a scene and what they want, how open or closed off they are about themselves in general, and their personal ways of thinking in general. For example, Joey Harmin and Quentin Smith are extremely fun to write in scenes together for me, because they both follow fairly understandable and clear logical thought paths, but those paths are completely different. Like they could not be operating on less similar wavelengths half the time, which is hilarious. There’s an exchange I haven’t uploaded for New Dawn Fades where they’re talking for the first time, and Joey is operating nearly 100% on small-picture context (But since you woke up, I have been very nice to you. Why don’t you trust me?) and Quentin is operating at nearly 100% big-picture context (You have killed me before—I have literally no reason to think you won’t any second now once again. I have no idea why you have not already). And both thought lines make total sense for the character to be following, but they could not be more confused by each others’ response. People think super weirdly and super different from each other, and that’s amazing, and some times you legit wont totally get what wild shit your own character is on, but that’s fine. You don’t need to—you just need to know it makes sense to them, and be able to understand it on some logic level, even if you could never really get it emotionally or more really than ‘in theory’ on a personal level. Also, side note—sometimes people speak super differently when in a professional setting vs relaxed, or with different friends, and that’s totally fine. Also-also, you might notice that if some characters spend a lot of time together, they start to speak similarly—that’s super normal too—don’t worry. It’s not you doing a bad job. Friends tend to pick up each others’ mannerisms and speech to some extent, and this is wildly more apparent when they hang out together.

This was a very long and in-depth answer to writing dialogue, but really, don’t let it overwhelm you. The TLDR is more or less just give them different voices in your head, and listen to them, then write down what you hear. Read it out loud to make sure it sounds like them if you feel unsure about it. I personally get into character and try to really think as/become them a bit at least when writing, because I approach writing from a very acting-based standpoint becuase that’s just how I am wired, but even if that’s not how you vibe, just know them a little. Know once you’ve talked to someone for like, three minutes, you have some idea how they talk. The synonym they’d chose, if they’d agree, or disagree, or just give a judgy look, or stay quiet. Know them that well, and try to hear them in your head. Read everything you write for them in that voice, thinking that voice well you write, and it’ll do wonders.

Now, for research.

First up, research is FUN! It’s amazing. It’s so wild to learn things and dip into thousands of parts of human existence you had no idea about at all. Try to think of it as a plus, not a pain, because really, it should be. Now, to be fair, I lean heavy into research—I’ll do days of research to try to find something out if I have to, and I have. I’m learning some of how to write and conjugate an extremely dead language right now for a fanfic, I’ve done massive deep dives from everything to ancient cultures and religions, screen shotting films to zoom in on set detail to learn what artist or band a character is into, what they drink, what they own, to the appproximate timing from specific streets in New York I’ve never seen to each other by specific subway line, to a myriad of wounds and diseases, to mental illness, to historical events as insignificant as marsh draining in specific cities. But bro? It was fun. Sometimes it’s a lot, but the thrill of finding what you were looking for? It’s great.

Now, I’m not saying you need to be me if you don’t want to haha. But when it comes to researching whatever you want to research, here’s some tips: First up, if what you are researching has anything to do with a human experience? (Mental illness, physical illness or injury, sex, birthing, death, how it feels to shoot a gun, or fall from a great height, or have a PTSD episode, anything like that?) You really need to hear it from people, if at all possible. The good news? In this day and age? It super is, almost always! Even with death. You can find people describing death (body death, not complete brain death) experiences they went through, and it’s very cool. I definitely recommend discussion threads, like Reddit, and YouTube videos of people giving their personal accounts for this kind of thing. They’re amazing resources, and also usually surprisingly fast! This is especially important for stuff like neurodivergence, disorders, mental illness, drug experiences, or anything else that’s on a cognitive more than physical level, because if you look at just textbook explanations, they’re not only usually very incomplete, but sometimes even inaccurate. Listening to people can give the truth if it’s missing, and the majority of the time while that’s not the biggest issue—especially concerning like, wounds or freezing or a near drowning experience, etc—it gives it a completeness a medical account just can’t. Also, if you have got any personal experience to lean on? Go for it! I’ve never been electrocuted horribly really, but when researching for the torture sequence in Proven, I both looked up a ton of first-hand accounts and some science to better understand what was going on, and took my own experience of the electric shocks I have gotten as the first building block in making a mental picture of what it would feel like to go through that. Obviously, being shocked hard enough to be flung backwards from a cattle fence (my history) is a far cry from being subjected to parrilla torture, but having a small amount of basic knowledge of the kind of pain electricity causes was useful as a first block in translating the information I was reading into something I understood better.

For non human-experience based research, a lot of it is pretty easy to look up, even if you wouldn’t think so. For example, guessing at the time period for cars in Autohaven and searching different years + truck + brand names for American cars was actually a really short process for finding a match—same with the make of the metal gas cans, back when I was trying to determine when, exactly, Philip was from. Visual image searches are great when applicable, especially if you’re trying to figure out what something is, because chances are if you describe a plant you saw once as ‘Tall lake reed plant with hotdog bun looking top,’ someone else will have once used some of those words when searching for a cattail as well. Also, for non-human research, books and academic papers are great, but so are non-academic sources like videos and photos for locations or objects. Sometimes again though, human info will honestly be where it is at, like reading firsthand descriptions of specific places. For most things, just type what you’re looking for into a search engine honestly and start there. You can totally start on the Wikipedia page for a city or a Greek god or a type of bomb, and move on from there—people put references in wiki articles, and you can check the bottom of the page for the specific source too. You can go on from basic knowledge to add or subtract keywords and refine your search. It’s pretty simple once you get going. If you’re getting extraneous results because a film title shares the name of what you are looking for, or a song or whatever, try quotation marks for an exact match, or - and then quotation marks around what you see that you want gone from results. Pretty basic stuff. Tbh, a lot of the time, it’s all you’re gonna need. Want to write a Stranger Things fic, but you have no idea what movies or shows were popular in the US at the time and need to know what they’d be watching in a scene? Honestly, searching “1980s (or 1980whatever-more-specific year) popular shows” will probably get you what you need in like 4 minutes. Also, if you’ve got a parent who was alive at the time and lived in the place, or older friend (or younger, I don’t know you, maybe this one doesn’t apply to you because YOU were there, but you’d have to ask a teenager irl now what the kids are into for a 20teens story, haha), utilize that resource and just ask them. Discussion spaces again, a massively useful resource. You can find people talking about their shared experiences with almost anything, and hear it more or less first-hand.

If you’re trying to learn about culture or history, again, first-person accounts are where it’s at. If you can’t find any, go for the next best thing, which is descendants or historians with a personal connection/interest. If you really, really can’t find much of that (as sadly has been the case for some cultures or religions I’ve researched in past, considering the lack of documentation period and/or intentional culture erasure going on), then read what you do find on it with a grain of salt. Who wrote it, and when? What biases did they bring? Also, often an old document like that might be the only first source you can find, but taking whatever badly documented info they have and trying new searches with the specific language you learned from them can yield new and much better results. Just do your level best. ^u^ Really, that’s all anyone can do. Sometimes there will be things without much out there period, and you don’t have to like, put 97 hours of research in combing your local library for any thing you may have missed for the fic you’re on right now or something. Just do your best, do what you can, and care, and you’ll be okay. It can seem daunting, but doing your sincere best is what anyone who does know the answer—living or dead—would care about, and it’s an important thing /to/ do, and also a pretty informative and fun one. Also, I swear it’s not as intimidating as I might make it seem. Pretty much always you’ll be able to find some decent chunks of solid and very useful information eventually, on anything. And most things actually do not at all take that long to research. I’m a monster, who likes to down research more and more each morning like I’m building up a resistance to iocaine powder to someday win a battle of wits, but you really don’t have to be me, and if you want to be, chances are that means you also just really heckin love learning new facts, so you’re gonna love the wild deep insanity of creating It’s Always Sunny Meme level conspiracy walls trying to track down ancient evil trees in mythology to figure out what in the goddamn the Entity really IS and you’ll adore it all. If you’re not, trust me—that’s completely fine. Most research is gonna take between 20 minutes and a few hours, depending on the level of complexity, and once you learn it, you have all this cool new knowledge! Like that you can fake a death with tetrodotoxin so well someone with a high but not fatal does in them could die undergoing an autopsy! Or how much opium kills someone, how it actually feels to black out, how hard it actually is to chloroform someone, or that wolves have been known to hold funerals for loved ones, or how to stitch a wound. It’s like, amazing. Join me, and become that thing from Adventure Time going “I have approximate knowledge of many things” while rubbing its grimy hands together with glee.

Uhhh haha, I made this one more concise wildly, but the TLDR version is just ask people or read or watch what people who have undergone X thing say it is like (oh, and make sure to read more than one account—big one with accuracy). For non-human research, start with just a basic search. If you’re a student and have access to academic searches more easily, totally use that. If not, don’t worry. Lots of academic search compilation sites are still open to you, and honestly, you’re only going to need to turn academic for highly specific and wildly rare information period. Most of the time, hear it from people who know the answer. Discussion forums and YouTube journal-type videos are fantastic resources. For what living in rural Wisconsin in the early 1980s was like for Philip, I searched about living in the early 1980s in rurual Wisconsin, found specific names in an article for the kinds of cheap apartments common, adjusted my search, and found a ton of good resources by people documenting the struggles and mistreatment of life there at the time, and also found out Milwaukee is surprisingly one of the most dangerous and racist cities in America, then and now, on the way. For Kate experiencing being forced to drink bleach, I watched seven different people on YouTube talk about their experiences drinking bleach, and read up on the medical side to understand the science of what happens to you, plus a few text descriptions as well. But really, both of those were pretty fun and fascinating and quick research stints. Most are. I super recommend trying some deepish dives out, even just for fun and not with writing planned in mind at all!

Anyway, I hope this helps! I wrote it at one in the morning & didn’t proof because I feel very bad and need to pass out to try and heal, so sorry if there are any errors that make this hard to read. Thanks for asking! This was fun to answer. Please feel free to ask any follow-ups if there’s something I didn’t seem to cover, or you want to know more about either of these or something else. I’m certainly not the world’s leading expert or something, but I got some fun methods and tips I’ve developed over the years I’m happy to share with a fellow writer (or bored or curious person just interested in the process, haha). Again, I gave long answers because I wanted to be thorough, but I promise neither dialogue nor research is a difficulty level reflected in the length of those answers—that’s just me being me. Don’t let it intimidate you! They’re both fun and actually not so hard things to do. You just kind of need to learn your starting off points and get your sea legs, and the rest mostly comes naturally and easily and is very fun. It’s super satisfying to read a line and be like “Only you, my dumb child” seeing the stupid crap they say, or “You’ve come so far” watching how they’re choosing to reach out to someone now vs as the story’s start; or to have needed a way to have a character pry open a wedged car door and find just exactly the perfect tool you could even have a logical reason for them to easily find in the scene and be able to sit back down thinking YES!!! I got it!! —it’s a rush, and very, very satisfying. I’m sure you can do it!! And I wish you the best of luck. I sadly made this on mobile because I forgot tumblr sucks and won’t let me retroactively add read mores on mobile now and it’s too late for me to change that, and I’m so sorry this is so long 😭😭😭, but I’m tagging it “long post” so hopefully tag blocks can still save people :’-] — anyway! Hope this helps and best of luck. Night! 💙

#ask #anonymous #writing #writing advice #long post

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the-master-cylinder · 4 years

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SUMMARY Father O’Sullivan is a Catholic priest who has lost his faith in God and who cannot forget the nun with whom he once had an affair (and a son). O’Sullivan serves as tour guide for archaeological student Cal, New Agers Wilbur and Clarisse Lemming, runaway Laurie, and tourists Dozois and Frost on a bus trip to Mexico. No one is more surprised than O’Sullivan when his love, Tessie, also boards the bus with her bratty son Ivan. In Mexico, Cal reveals his knowledge of a crucial ancient text, just in time for the Day of the Dead festivities. Meanwhile, evil Dr. Um-tzec is planning an apotheosis for himself that will culminate in his incarnation as the Death God, and what he needs to accomplish this is the hearts of sacrificial children … lots and lots of hearts. While Father O’Sullivan grapples with the emotions of seeing Tessie again, he is approached by Dr. Um-tzec to perform an exorcism; but Um-tzec has deceived him and O’Sullivan is thereafter occasionally possessed by the Death God. Fighting the possession, O’Sullivan tries to rescue Ivan, who is regarded as a perfect sacrificial victim. Now Tessie, Cal, Laurie, and the bickering Lemmings must pull together to stop Dr. Um-tzec and O’Sullivan from completing the apotheosis ritual.

DEVELOPMENT/PRODUCTION Not that I’m superstitious, but every seven years, I seem to change careers. My first was as an avant garde composer, my second a science-fiction, fantasy and finally horror novelist. The third seven-year stretch was coming up, so I showed up in Hollywood a year and a half ago with a vague notion of doing something in film. I took meetings, jacuzzed with grim determination, and flashed my fake Rolex watch at all the right people, but no new career emerged. One day, I read in Twilight Zone magazine that I was one of the ancestors of the literary splatterpunk movement. A number of other ancestors were mentioned, but they were all either twice my age or dead. I began to feel like a has been. Then, one day in June 1988, it all changed. Nine months later, much to my own astonishment, I looked on as my first film, The Laughing Dead, screened for a crowd of avid genre fans.

Lex Nakashima was the next person to show up. He was a young producer who had developed a number of large scale fantasy projects, and an old friend. “We have to gain credibility in this town,” I said. “We have to make a movie – no matter how small-scale–so that we can gain the clout to raise money for the huge projects we’ve both been dreaming about. A horror movie would be nice.”

“Can we set it in Oaxaca?” Lex asked.

I thought about it. Oaxaca, Mexico, is the home of the festival of the laughing dead, a strange blend of Catholicism and pre-Columbian religions- people dressed as skeletons dancing through the streets, celebrants feasting over the graves of their ancestors. “Sure,” I decided. “I can write that.” My mind was racing wildly, trying to figure out a plot.

“Fine,” said Lex, “I’ll get a second mortgage on my house. You’ll be the executive producer, and I’ll produce.” At his best, Lex is one of the most decisive people I know.

Lex went to a New Age bookstore in Santa Monica and came back with a couple hundred dollars’ worth of books about the culture of the ancient Mayans, and in a few weeks’ time, I had the beginnings of a viable story. I wanted to have a lot of spectacle, I wanted a lot of black humor, and I wanted colorful, imaginative gore that would really appeal to the crowd. Could we really do it on $250,000? Probably not, I told myself, although I did not then envision that the budget would eventually reach seven figures.

Who could direct the film? I thought of another friend, Wendy Ikeguchi, who had been an assistant director on projects as varied as Wisdom and The Days and Nights of Molly Dodd. Would she care to direct? I inquired, knowing full well that although I had conceived the story and already mentally cast it, I didn’t at that time know much about the technical aspects of directing. I only knew what I wanted to see on the screen.

“Direct it yourself,” Wendy told me.

I didn’t quite trust myself yet. I tried to talk Wendy into it for some weeks, but to no avail. She’s a member of the Director’s Guild and, in the final analysis, we couldn’t afford their rates. Instead, she signed on as executive producer and directorial advisor, in which capacity she could tell me what to do in no uncertain terms. “You’re supposed to say ‘action’ now, Somtow, she reprimanded me when my mind started wandering one day. We disagreed about many things in fact, it might be fair to say that we fought like cats and dogs but her input proved indispensible to the project.

We needed someone to design the production, someone who really understood the tone of the movie, who knew a lot about pre-Columbian cultures, and who wouldn’t be fazed at the number and variety of sets needed in The Laughing Dead: the Mayan temple interior, the labyrinthine caves, seedy hotel lobbies and scenes of macabre revelry. Ryan Ellner, a former roommate of mine who worked for Freddy’s Nightmares as, among other things, a maker of Freddy gloves, introduced me to Philip Vasels and Diane Hughes. They’re responsible for both sets in Los Angeles and on location in the western-set ‘town’ of Old Tuscon, Arizona, were designed and constructed by the team. They built the seemingly endless underground caverns and, for the film’s finale, the Mayan ball court of death.

Philip later confided, “I thought, Oh no, one of those movies.’ But after I read the script, I realized there was a lot more to it.” I knew we had hired the right people when one day Philip called to tell me, “I don’t dare go into that inner room. I’m too scared.”

He meant the inner chamber of Dr. Um-Tzec’s office, the scene of a demonic possession and a kinky, bloody heart exchange sequence, the dark midpoint of the film. What transpires in the room is the hinge, the corrupt center of the entire story. It’s a metaphor for the equation of sex with death. When I learned how disturbed Philip was by the meaning of the room, I knew we were on the same wavelength. Despite the flashiness of some of the other sets, the Dr. Um-Tzec “suite– the death god’s office and the inner room-is Vasels and Hughes’ most inspired creation.

The next person I called was the man with whom I used to share a house when I lived on the East Coast: writer, raconteur and madman Tim Sullivan Beside being a very fine writer of everything from elegant horror to “V” novels, Tim Sullivan had just done a bit of acting, a PBS thing in his native Philadelphia. I was thinking of Tim for the role of a Catholic priest who, tormented by guilt over having seduced a nun 12 years before, turns into a crazed killer when possessed by Um-Tzec, the Mayan death god. Tim had wanted to be a monster since childhood. Although he was a little surprised at being asked to drop everything he was doing, fly out from Philadelphia and act, he was used to my eccentricities. He was the first person (aside from Lex) to actually believe there might be something to my claim that we were about to make a movie. Two months later, he was on my doorstep, suitcase in hand, making the sign of the cross at my neighbors.

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Many of my friends are writers, so we soon had several well known ones roped in for cameos, everyone from science fiction author Ed Bryant (whose head gets crushed by a bus in the film) to longtime collector and fan Forry Ackerman, who does a charming little turn as a corpse. As other scribes ranging from Tim (The Anubis Gates) Powers to film critic Bill Warren began volunteering to die horribly, I realized that we had a pretty good gimmick going.

Two weeks before we were scheduled to start shooting on location in Arizona, we acquired our director of photography, David Boyd. Again, I felt fortunate to have found someone so sympathetic with my vision. The quirky neo-Expressionist angles, the Mario Bavaesque lighting, the painterly composition of his shots often provide an ironic undertone to the black comedy.

David Boyd explains what it was like to have writers instead of actors on set. ‘Actors,’ he says, ‘tend to be consumed by self-involvement. These guys were different. They understood my job much better than actors – you could talk about metaphorical lighting and camerawork and they would understand.’ Then crazy, star struck writers will do almost anything for almost nothing.

Thanksgiving came and went. We were on our way to Old Tucson for the most grueling 19 days of my life, some days with as many as 52 setups. The Arizona portion of the shoot had a party atmosphere despite the peculiar working conditions. Two other films were being shot on the same location, including Speed Zone, so Robert Shelton, who runs Old Tucson, was juggling as fast as he could. One day we shared the set with more than 1,000 high school students who were having a banquet, and I prayed that the sound of distant cheerleading choruses could somehow be disguised, in the audio mix, as the sound of crickets or birds through the use of clever signal processing.

On the opening day, I was in my UmTzec regalia atop a towering mountain and about to plunge a knife into my hapless niece Vanina, who was playing Victim #1. I couldn’t see a thing without my glasses, and I was trying to walk downhill toward Wendy Ikeguchi, whose blurry form was waving frantically in the distance, I took a Chaplinesque tumble, sprained my ankle, and thought that all was lost until my mother (who taught me everything I know about horror, and who was working with us as a production supervisor) explained to me that I shouldn’t have attempted to portray a god without making the appropriate blood sacrifice; now that my foot was bleeding onto the earth, everything would be OK. I limped away, wondering if I’d be completely useless for the rest of the shoot.

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Soon everyone was ready to kill me, because my script was about warm tropical nights and the real temperature in Tucson in the middle of the night was below freezing. Timson Hill and John Anthoni, who played Dr. Um-Tzec’s evil acolytes, suffered in particular, as they stood in their skimpy costumes in the biting desert wind. One of the key FX-the crushing of Ed Bryant’s head under the wheels of a bus-didn’t come off the first time; the blood balloons failed to burst. I heard Wendy Ikeguchi cry out, “Where’s the blood, where’s the blood?” and we all rushed over to find that the head had been squashed flat. Was it ruined? We watched in astonishment as the head popped right back into shape the minute the bus pulled away. No one had ever dreamed that the head would be reusable.

We didn’t sleep much. We ate gargantuan portions of steak at the Pack ‘Em In Steak House across the street from our motel, and a week later we were ready to return to Los Angeles, where the Vasels and Hughes team had been wildly constructing sets in our absence. More spectacle was to come: Ryan Effner’s and my turning into monsters, the nasty Caesarean section dream sequence, the hotel lobby sequence in which Father O’Sullivan goes crazy and spatters the wall with women’s brains, and the climax, a recreation of the Mayan ballgame of death replete with zombies, dinosaur battle, a collapsing temple a la Last Days of Pompeii and an exploding hotel.

Interview with S. P. Somtow

Instead of wing for going for name actors, you’ve brought together a swill of self and horror writers S. P. Somtow: We didn’t have any money when I wrote the screenplay, so I found it easier to write the roles around people that knew, that would work for next to nothing. They really are playing themselves.

You describe the film as being a cross between NIGHT OF THE LIVING DEAD and KRAMER VERSUS KRAMER, with a little NIGHT OF THE IGUANA thrown in at the end. That sounds sick. S. P. Somtow: Now I guess I’d just call it a neo-expressionistic, black comedy. It has an exaggerated quality to it. I find it very hard to write about anything without looking at its absurd qualities. Horror is so close to comedy in its structure. They both depend on misleading the expectations of the audience. If a guy slips on a banana peel, it’s comedy. If he breaks his neck when he hits the ground, it’s horror.

But if they’re so close, then why does big-budget-Hollywood prefer comedy over horror? S. P. Somtow: Horror comes from a nasty part of the mind. People with a lot of money like to shield themselves, with their money.

Your books don’t have the humorous, satirical edge that LAUGHING DEAD does. S. P. Somtow: No, and in fact the novel version of LAUGHING DEAD. which I’m working on now. is not satirical. But it’s the ambiguity that I enjoy. And that is something that I see about my own work.

Where is your accent from? S. P. Somtow: I was born in Thailand, and left there when I was 6 months old. We went to Europe. I went back to Thailand when I was 7. and then I went to Eton Preparatory school in London. It’s a horrible little place. This was in the mid sixties. We were a bunch of 14 year olds discussing the sexual imagery in Bergman’s films. Then I went on to Cambridge, and received a degree in Music and English Literature. I went back to Thailand, and became a hideous figure in Thailand music.

How did you end up writing horror novels S. P. Somtow: Every time a horror writer talks about his roots, it always goes back to his mother. In my case, it was because my mother would take me to every horror film, and watch them over and over. She would watch them with her hand over her eyes for the entire movies. She made me go, because she didn’t want to go alone. To this day, she rents every sleazy B movie she can get her hands on. She worked on LAUGHING DEAD as a production supervisor

SPECIAL EFFECTS By carefully conserving his budget, Somtow had enough money to acquire the services of John Buechler’s Mechanical Make-up Imageries (MMI) studio and staff to create glorious special effects. Buechler, claimed that for him The Laughing Dead was ‘a labour of love’. The feeling can certainly be seen in the wondrous effects he and his people devised. For example: Tess has a nightmare in which she gives birth to a murderous version of her own son. A bus driver is squashed by his own vehicle. And people transform into grotesque, serpentine gods of the ancient Maya.

Also producing special effects for the film was relative newcomer Rik Carter and his LA team. They created the zombie make-up and some of the simpler but no less stunning effects. In one sequence, Father O’Sullivan stands paralyzed as UnTzec’s evil assistant bares and then tears open her breasts, removes her heart and buries it in the priest’s chest, thereby giving Um-Tzec possession of O’Sullivan’s soul. And Frost loses one arm to the possessed priest, then has it stuffed viciously down his throat, his swallowed fingers wriggling out of his neck courtesy of Carter’s effects work. A gripping death, so to speak.

After John Buechler came on board, the movie really began to gel. Buechler’s name was well known enough in the horror/fantasy field to lend us the clout to draw in many other figures. I was deeply moved when John offered to do the creature transformations and the makeup FX for The Laughing Dead. I hadn’t dared ask him, because–even though our budget had, by then, tripled-I considered him, with all his credits, too exalted a figure to want to take part in our little venture. “Trn intrigued by the script,” he said. “It’s disturbing, and it’s funny. He then proceeded to make us an offer we couldn’t refuse. Buechler also talked me into playing the somewhat-more-than-a cameo role of the evil Dr. Um-Tzec. “Why, Somtow,” he kept saying, “it’s you. Can’t you see that? Rik Carter signed on to do the rest of the makeup FX, in particular an arm-down-the throat gag that became one of the show’s highlights.

“Another reason I’m doing this for you,” John Buechler told me, “is that I’ve never seen anyone attempt so much with so little money!”

CAST/CREW Directed by Somtow Sucharitkul (as S. P. Somtow)

Writing Credits Somtow Sucharitkul (written by) (as S. P. Somtow)

Joey Acedo … Policeman #1 John Anthoni … Acolyte #1 (as John-Anthoni) Hank Azcona … Police Sergeant Bruce Barlow … Kukulcan George Barnett … Policeman #2 Edward Bryant … Bus Driver Michael Bustamante Boy In Graveyard Matt Demeritt … Harlan (as Matthew De Merritt) Premika Eaton … Laurie

Special Effects John Carl Buechler … designer: Magical Media Industries (as John Buechler) Rik Carter … special makeup effects Jake Johnson … special makeup effects Elinor Mavor … hair stylist / makeup artist Richard Rouse … hair stylist / makeup artist David Stinnett … special makeup effects (as Dave Stinnett) Jane Whitehead … special makeup effects

Michael Deak … location crew: Magical Media Industries (as Mike ‘Duct-Tape’ Deak) John Foster … location crew: Magical Media Industries / production manager: Magical Media Industries Mecki Heussen … lab technician: Magical Media Industries Robert Houghtaling … lab technician: Magical Media Industries John P. Jockinsen … special effects coordinator (as John Jockinsen) Timothy Ralston … coordinator: Magical Media Industries (as Tim Ralston) / location crew: Magical Media Industries (as Tim Ralston) / supervisor: Magical Media Industries (as Tim Ralston) Chris Robbins … head fabricator: Magical Media Industries / location crew: Magical Media Industries Wayne Toth … location crew: Magical Media Industries

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY FEAR 08/1989 Horrorfan#03 Slaughterhouse#05 Gorezone#09

The Laughing Dead (1990) Retrospective SUMMARY Father O'Sullivan is a Catholic priest who has lost his faith in God and who cannot forget the nun with whom he once had an affair (and a son).

#90sMovies

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