What Makes a Critic Tick? Connected Authors and the Determinants of Book Reviews

A study of literary critics was recently conducted and the results have been posted at Harvard Business School’s The Working Knowledge journal.

Executive Summary:

The professional critic has long been heralded as the gold standard for evaluating products and services such as books, movies, and restaurants. Analyzing hundreds of book reviews from 40 different newspapers and magazines, Professor Michael Luca and coauthors Loretti Dobrescu and Alberto Motta investigate the determinants of professional reviews and then compare these to consumer reviews from Amazon.com.

Key concepts include:

  • The data suggest that media outlets do not simply seek to isolate high-quality books, but also to find books that are a good fit for their readers. This is a potential advantage for professional critics, one that cannot be easily replicated by consumer reviews.
  • Expert ratings are correlated with Amazon ratings, suggesting that experts and consumers tend to agree in aggregate about the quality of a book. However, there are systematic differences between these sets of reviews.
     
  • Relative to consumer reviews, professional critics are less favorable to first-time authors. This suggests that one potential advantage of consumer reviews is that they are quicker to identify new and unknown books.
     
  • Relative to consumer reviews, professional critics are more favorable to authors who have garnered other attention in the press (as measured by number of media mentions outside of the review) and who have won book prizes.
 

Author Abstract

This paper investigates the determinants of expert reviews in the book industry. Reviews are determined not only by the quality of the product, but also by the incentives of the media outlet providing the review. For example, a media outlet may have the incentive to provide favorable coverage to certain authors or to slant reviews toward the horizontal preferences of certain readers.

Empirically, we find that an author’s connection to the media outlet is related to the outcome of the review decision. When a book’s author also writes for a media outlet, that outlet is 25% more likely to review the book relative to other media outlets, and the resulting ratings are roughly 5% higher. Prima facie, it is unclear whether media outlets are favoring their own authors because these are the authors that their readers prefer or simply because they are trying to collude.

We provide a test to distinguish between these two potential mechanisms, and present evidence that this is because of tastes rather than collusion — the effect of connections is present both for authors who began writing for a media outlet before and after the book release. We then investigate other determinants of expert reviews. Relative to consumer reviews, we find that professional critics are less favorable to first time authors and more favorable to authors who have garnered other attention in the press (as measured by number of media mentions outside of the review) and who have won book prizes.

 

Read the full text of the paper (in pdf format) here.

An Open Letter to the DOJ from Someone Who Actually Cares About Writers (and Readers)

This post, by David Gaughran, originally appeared on his Let’s Get Digital Site on 5/15/12.

 The leading literary agents’ organization – the Association of Authors’ Representatives (AAR) – penned an open letter to the Department of Justice (DOJ) opposing the terms of the settlement reached with three of the publishers named in the Agency price-fixing suit.

I won’t go into the details of how wrongheaded that letter was. It has already been systematically taken apart by Joe Konrath, Bob Mayer, and Dean Wesley Smith.

Also worth reading are Joe Konrath’s subsequent dismantling of another open letter to the DOJ written by Simon Lipskar (a board member of the AAR), as well as the comments made by Passive Guy on the same topic.

If you have any doubt whose side (most) agents and the AAR are on (clue: it’s not writers’), then you need to read this guest post by Ann Voss Peterson on her exploitative Harlequin contract, the subsequent reaction to Ann’s post by romance agent Scott Eagan (read the comments following that piece) and agent Steve Laube, as well as Joe Konrath’s filleting of the latter.

I have heard privately from one agent who is opposed to the AAR’s position, but I haven’t seen any public postings to that end. If they exist, please point me to them and I will amend the above characterization (but I fear I won’t have to).

* * *

Gail Hochman, the President of the AAR, sent a copy of that open letter mentioned at the top to all members of her organization, along with an accompanying note calling on her fellow agents to both write similar letters and encourage their clients (i.e. writers) to do likewise. Their explicit aim is to influence the judge presiding over the suit.

From Gail Hochman’s letter to AAR members:

The DOJ must read and report to the judge who must ultimately approve the settlement each communication it receives commenting on the proposed settlement. For that reason, in addition to the AAR’s letter we urge all AAR members to express their views on the settlement to the DOJ and we hope you will also urge your clients to do the same.

Your note might address whether you feel the settlement will foster competition and well-being in the literary marketplace, or the opposite. There is a time limit for such communications, so your messages should be sent as promptly as possible. (The address is on the AAR’s letter.)

We believe it is tremendously important that we all be heard on this most significant issue. We believe the more letters from publishing professionals that are received, the better the chance of affecting the judge’s final decision.

While I’m not a member of the AAR, I suppose I am a “publishing professional” in one sense. I will gladly answer Gail Hochman’s call. A copy of the letter I’m sending on Thursday morning is below. If anyone wants to add their name to it, please make a note in the comments (or email me privately at david dot gaughran at gmail dot com) and I will include your name.

It would be great if there were other writers’ names to add, but make no mistake, this isn’t a petition. If mine is the only name at the bottom, I’m sending it anyway.

Some authors may be reticent. I can understand that. Many of you may be seeking representation or a publishing deal and may be afraid of stepping on toes. That’s fine. I don’t really care about that stuff so I’m happy to take any potential flak.

 

Read the rest of the post, which contains Gaughran’s letter to the DoJ, on Let’s Get Digital.

TRUE HERO I never met Ghandi, but I met Ian

 Just posted a new Blog Article

HERO I never met Ghandi, but I met Ian

tinyurl.com/cgalzer 

Have fun

Mikel

When Publishing Goes Wrong…Starring Undead Press

This post, by Mandy DeGeit, originally appeared on her blog on 5/14/12.

You all know I’ve been ranting about my first ever publication coming out for the last little while… “She makes me smile” was picked up by Undead Press (Anthony Giangregorio) to be published in their anthology called Cavalcade of Terror and the book was released May 1st 2012.

[Publetariat Editor’s note: strong language after the jump]

I waited… and waited… I was SO excited to see my story and name in print.

One of my friends even went as far as to pay 40$ to Expresspost me a copy of Cavalcade, I waited around two days for the delivery. (Apparently I’m dealing with a buzzer issue here at the house.)

It finally came in and believe me, I didn’t waste any time ripping into the package…

FLIP, FLIP, FLIP… Find the Table of Contents.
Scan down…

…and my heart sank.

Wtf? :( There’s a spelling mistake in the title of my story. *(Not from my submission however… They changed it to wrong.)

“She Make’s Me Smile” by Mandy J. De Geit

Well that made me sad, but okay the Mandy part is kinda cool. Let’s see the story itself…

ARGH!!! Same mistake on the title page. Fack, She Make is Me Smile… Really? Oh well… Read on.

… … …
..Wait… What?
Read read read… WTF? WHO THE HELL? (Run to computer and load up the submitted file with great difficulty, cause your breathing is laboured from a really tight chest, your hands are shaking to the point you can hardly type and you can hardly see the screen cause you’re about to lose your shit waterworks wise… and you NEVER do that…)

Fucking Bastards! They changed my story without telling me.

Let’s see: They turned a non-gendered character into a boy, they named the best friend, they created a memory for the main character about animal abuse. They added a suggestion of rape at the end… I feel like they ruined the suspense in the story. I don’t know what else, I haven’t even read the whole thing through yet because it makes me SOO FREAKING ANGRY!!! *(I’m angry now… just talking about it riles me up. EFFIN GRRRRRR! I could totally kill someone with a paperback, I wonder if that’s been done…) Grrr… I hate anger.

… anyways…
THEY SHOULD’VE ASKED!!!
(I’d have said NO, give me my story back, because you can’t spell and your story makes no sense, but that’s neither here nor there.)

The story didn’t pay anything, not even a contributor’s copy, but still I signed the contract (which said “EDIT” not “revamp”) and let them publish my story. I was rushing on the fact that I was actually going to be a published author.

 

Read the rest of the post on Mandy DeGeit’s blog.

Show Your Setting through the POV Character’s Eyes

This post, by Jodie Renner, originally appeared on The Blood-Red Pencil on 4/18/12.

Fiction writers—one of the fastest ways to bring your story world and characters to life is to portray the setting through the senses, feelings, reactions, and attitude of your protagonist.

Enhancing your fiction by filtering the description of the setting through your viewpoint character’s senses is a concept I instinctively embraced when I first started editing fiction about six years ago. I was editing a contemporary middle-school novel, whose two main characters, a boy and a girl, were both eleven years old (details slightly changed). The author had them describing rooms they entered as if they were interior decorators, complete with words like “exquisite,” “stylish,” “coordinated,” “ornate,” and “delightful.” Then, when they were in the park or the woods playing and exploring with friends, each tree, shrub and flower was accurately named and described in details that were way beyond the average preteen’s knowledge base or interests.

Besides the obvious problem of too much description for this age group (or for any popular novel these days), this authorial, “grownup” way of describing their environment would not only turn off young readers, but also create a distance between any reader and these two modern-day kids. As a reader and editor, I didn’t feel like I was getting to know these kids at all, as I wasn’t seeing their world through their eyes, but directly from the author, who obviously knew her interior design terms and flora and fauna! Through this unchildlike, out-of-character description of their environment, the author puts a barrier between us and the two kids. If we don’t get into their heads and hearts, seeing their world as they see it, how will we get to know them and bond with them, and why will we care what happens to them?

I advise my author clients to not only show us directly what the characters are seeing around them, in their words, but to bring the characters and story to life on the page by evoking all the senses. Tell us what they’re hearing and smelling, too. And touching/feeling – the textures of things, and whether they’re feeling warm or cold, wet or dry. Even the odd taste. And don’t forget mood—how does that setting make them feel? Emotionally uplifted? Fearful? Warm and cozy? Include telling details specific to that place, and have the characters react to their environment, whether it’s shivering from the cold, in awe of a gorgeous sunset, or afraid of the dark. Bring that scene to life through your characters’ reactions.

As Donald Maass says…

 

Read the rest of the post on The Blood-Red Pencil.

Monthly Mash-up: 10 Writing Craft Books And Blog Posts

There are so many great writing craft books and blog posts out there I just had to do my first monthly mash-up focusing on those. The following are some of my favorite books, in no particular order:

Writing craft books:

  1. If You Want to Write by Brenda Ueland — Brenda shows us that no writing is absolute crap. In fact, she challenges us to write the worst piece possible, then goes on to show how in even the worst there will be a few gems. She tells us cherish the quiet moments because that is when our stories are percolating.
  2. Plot & Structure by James Scott Bell — James walks us through the four act set-up, character arc, various plotting methods and a myriad of other techniques that make writing more efficient (if you’re a plotter, that is). Pantsers can find great information in this book, as well, with questions to ponder either before or after the first draft and different methods of revising once the draft is complete.
  3. Story Engineering by Larry Brooks — Larry explains the six core competencies of concept, character, theme, story structure (plot), scene construction and writing voice, showing us why each of these are important to writing a great story. He also breaks structure down into easily understandable points and gives an idea of how to judge the length of a potential story.
  4. The Courage to Write by Ralph Keyes — Ralph helps writers understand that we are not alone in our fears. He gives anecdotes of how famous authors coped with that fear, even encouraging each of us to develop rituals that help get us through the fear of setting words on the page (or screen).
  5. Failing Forward by John C. Maxwell — From redefining failure and success to learning how to embrace failures, John shows us that making both small and monumental mistakes is something to strive for rather than try to avoid. If you’re worrying about falling on your face as a writer, especially as an indie, this is a great book for learning how to accept failing as part of becoming successful.

Writing craft books aren’t the only place to get great information. There are hundreds, perhaps millions, of great blog posts with exceptional advice on how to be the best writer you can be. Here are just a few:

Writing Blog Posts:

  1. Do You Judge A Book By Its Cover by Diana Murdock — Diana gives us a peak into how she chose the cover of her book, Souled.
  2. Tips for Writing Back Cover Copy a guest post by Roz Morris on Jamie Gold’s blog — Having trouble condensing your entire book into a couple of paragraphs? Roz has some tips on what do to and what not to do to capture your story and make readers want to snuggle up with your book.
  3. Saying ‘No’ — A Successful Writer’s Must by August McLaughlin — If you’re struggling to get any writing accomplished because others think you can drop everything to help them, the August has some great ideas on how to set boundaries.
  4. Ask the Editor: How can I cut back on the abundance of pronouns in my writing? by Kira McFadden on Novel Publicity — Having problems with an abundance of he/she/it? Kira shows us how to rewrite passages to limit the number of pronouns used.
  5. 7 Setting Basics That Can Bring a Story to Life by Jody Hedlund — Setting can really bring a scene alive and move the plot forward if we use it properly. Jody gives us 7 ways to make setting almost a character in itself.

These are 10 of my favorite writing craft books and blog posts. I have hundreds more because I’m a craft junkie, as Jillian Kent said in her guest post on Rachelle Gardner’s blog. (Psst… That’s #11. :D ) I’m always looking for more blogs to read and books to buy on the craft of writing, so, if you have one you love, please share it in the comments. Happy writing!

 

This is a reprint from Virginia Ripple‘s blog.

Tolkien’s 10 Tips for Writers

This post, by Roger Colby, originally appeared on his writingishardwork site on 4/29/12.

I have long been a fan of J.R.R. Tolkien.  Every year, when school dismisses for summer break, I read The Lord of the Rings.  This year I will read it to my children and do all the voices for them.  Tolkien was a brilliant writer, but what if we could sit down with him and ask him any question we wanted?  What if he could give writers advice about their own writing from his years of experience as an incredible storyteller?

This is possible if we read his letters.  I have a musty old book entitled The Letters of J.R.R. Tolkien, edited by Humphrey Carpenter.  I once spent the better part of a month reading it cover to cover and underlining every instance where the master of Middle Earth wrote about his process.  What follows are the best of those notes:

1.  Vanity Is Useless – Tolkien writes in a letter to Sir Stanley Unwin on 31 July 1947 “…I certainly hope to leave behind me the whole thing [LOTR] revised and in final form, for the world to throw into the waste-paper basket.  All books come there in the end, in this world, anyway” (121).  The Lord of the Rings has a worldwide following, has inspired films, video games, animated features, songs, poetry, fan fiction and countless other things, yet its author felt that in reality it may not be that important to the world.  There are several other instances where he writes to people about how humble he feels about the things he writes and that they are not really life changing at all, but simply imaginings “from my head”.  In Tolkien’s opinion, The Hobbit was published out of sheer “accident”, as he had passed it around to a few close friends, one of them being C.S. Lewis.  Finally (and lucky for us) an Oxford graduate, Susan Dagnall, who worked for the London publishing house of Allen & Unwin, encouraged him to submit it for publication.  He did, and there are pages of letters where he struggles with the process of publication.  He was not, in any way, a vain man, especially about his writing.

2.  Keep a Stiff Upper Lip – In another letter to Sir Stanley Unwin dated July 21, 1946, Tolkien lists a mound of personal struggles he was facing: being ill, being overworked and missing his son Christopher who was away in the Royal Navy.  He put many of his struggles aside, though, and went to writing.  He had to balance his day job with his desire to write epic stories set in Middle Earth.  He found time.  He made time.  It took him 7 years to write The Hobbit. (117) The thing that he writes about most in this period is his struggle to get the work finished on his novels and to balance teaching and his many duties at Oxford College.  Apparently he found a way.

3. Listen to Critics – Tolkien writes to his editor about the comments C.S. Lewis made about The Lord of the Rings: “When he would say, ‘You can do better than that.  Better, Tolkien, please!’  I would try.  I’d sit down and write the section over and over.  That happened with the scene I think is the best in the book, the confrontation between Gandalf and his rival wizard, Saruman, in the ravaged city of Isengard.”  He writes that he “cut out some passages of light-hearted hobbit conversation which he [Lewis] found tiresome, thinking that if he did most other readers (if any) would feel the same…to tell the truth he never really like hobbits very much, least of all Merry and Pippin.  But a great number of readers do, and would like more than they have got” (376).  I notice the words in parenthesis “if any”, because there are many passages in the letters where Tolkien seems to be self-deprecating.  He listened carefully to critics and understood that they would hone his writing down to something that would be well received by many.  We must learn to use the advice of critics to help us become better writers.

Probably the most telling letter of the entire collection would be his letter to Christopher Bretherton dated July 16th, 1964.  The following are the highlights of that text:

 

Read the rest of the post, which includes tips 4-10, on writingishardwork.

Writing As a Way To Express Your Feelings

Writing is like telling a story. There are a lot of reasons why peoplw write. They write to share their ideas, learnings and experiences. As for me, I write because I simply love to write. When you are mad or angry, you can take your anger off your head by writing it down and release what is inside you especially if you still do not have the courage to say it directly to the person. As well as love. It is very romantic for a couple especially for a girl to receive a letter from an admirer or from his loved one. And if you or your loved ones are far away from you, when you receive a letter from them, it puts a smile on your face. Writing is also a way of coummunication. Writing that comes from the heart has a great impact to a person. And whatever you are feeling, it reflects to the content of your writing.

About the Author:

A writer from California. I write because I love to write. It is a way for me to express love, hate, happiness, sorow and share my ideas. I am interested in politics and law. I write topics about the importance of a California car accident attorney and current news about politics. I also travel a lot and write about the place I recently visited.

Benefits of Reading

 Some people are fond of reading books. They say that reading makes them relax, which is really true.



In fact, reading has 8 major benefits. The first one is that it enhances your knowledge. Through reading, you learn more valuable information and it can make you smarter. It has also been proven to reduced stress. Reading can easily distract you and can make your mind feel at ease. Also, it could provide you with greater tranquility, help improved yout analytical thinking, increased your vocabulary, improved your memory, improved your writing skills and helps you to prioritize your goal. Reading can make you realize what you really want with your life.

 

ABOUT THE AUTHOR:

I am a writer and blogger. I usually write articles that discusses about issues in the society, music, latest star gossips, history and movie reviews. I am also an avid fan of sports. I love to watch football games. I also love to collect books. My current read is all about medical malpractice lawyer.

Write to Express Yourself!

Portrait to painting

Writing is my passion. I considered it as my own way of keeping a Diary. Everything I feel, I see and I hear, I write it with no limit. When I write it gives me the satisfacion I want. It is as if I am sharing to the world everything that I learned through life, everything that I’ve been through. Whenever someone ask me why I always love to write, I can’t help but smile and tell them, "it’s my own way of expressing myself". If there is something I want to share, I write something about it, posted it and let everyone to see and read more about it. Writing is more than a passion to me. It helps me to grow and know the real person out of me. It’s a way of life, something that I can always put on and gives out my best in it!

About the Author:

Writing is considered a real passion if you want to express yourself. That’s exactly the reason why I love to write. I write from the heart. I know this is what I want to become. I write about things that interest me like Arts, specifically about Portrait to painting which I love to collect. I also write about travel, best destination and current events.

 

 

7 Links To Understanding (And Finding) Beta Readers

Perhaps one of the most daunting things I have yet to accomplish with my current WIP, Apprentice Cat, is finding enough beta readers. I imagine its a problem many of you have or will face, too. I’ve put together 7 links to understanding (and finding) beta readers, as well as critique partners and editors, in this post in hopes that it will be helpful to us all.

 

  1. Finally, an answer! Here’s the difference between line, copy, and content editing by Pavarti K. Tyler: Besides giving a quick idea to what beta readers and critique partners are, Pavarti shares gives us the inside scoop on what each type of editor does and why you might want one.
  2. 3 Ways to Determine if Your Writing is Crap by Jody Hedlund: In this post Jody breaks down the different levels of readers an author might use from “unskilled” beta readers (those who aren’t writers) to fellow writers to professional editors.
  3. Does my manuscript look fat in this? 7 reasons why writers need critique partners by Laura Pepper Wu: Laura explains what makes a great critique partner and why having one is so important.
  4. Ask Jami: How Do We Find Beta Readers? by Jami Gold: In this post, Jami goes into detail what a beta reader does and some ways we can find them, including offering ourselves as beta readers.
  5. The Art of Critiquing: I explain what makes a good critique and give some suggestions of what to do before handing over your manuscript to a beta reader or critique partner in this post.
  6. Critters Makes for Better Writing: In this post I give a more in-depth look at one online resource for critiques.
  7. Bad Critique Groups—8 Things That Can Push a Group Over to the Dark Side by Ruth Harris: No one wants to be in a bad critique group, so Ruth gives us 8 things from having no rules to dogmatic PC/Religious policepersons to watch out for when choosing a crit group.

Do you know of other resources for finding a beta reader?

 

This is a reprint from Virginia Ripple‘s blog.

Please Don’t Write Bad Novels

This post, by Catt Dahman, originally appeared on the Moonbooks site on 4/16/12.

To say I read a lot is an understatement; to say I read lot of well written material is sadly untrue. With the apocalypse/zombie craze going on, there are some good ideas but the execution of the writing is lacking; it’s lacking in a lot of the horror I read. I’ve recently thrown in my zombie tale as well and that got me to thinking about what some writers do that ruin their novels. Ever the helpful (okay, critical, jeez) person that I am, I came up with a few ideas of what to do and not to do when writing zombie (or any horror) tales.

 

This one is huge. Tell the reader what kind of weapon the characters use, but then, can you call it a gun and not have to give us specs each time you mention the gun? A full fifteen pages about the weight, sale records, and history of each gun is really boring and I stop reading. A scope. Tell us they use a scope, but really, you don’t have to share the brand and everything you read in the Wiki. (yawn) Some technical information is fun, but too much is boring. At least warn us in your description so we can decide if we are technical-information-loving people or just want a fun story. The authors I like never write a five page diatribe on the functions and specs of a grenade. Just saying.

Next, please spare us the sound effects. BAM, POOF, VROOM, POW and SPLAT are enough to drive me to ERRRPPP up my lunch. Yes, they are fun in a comic book, but in a mainstream novel, the bomb can explode without a BOOM and the brains do not need to go KERSPLAT. Alas, this means forgoing the PLING, THUMP, and the BANG as well.

Speaking of word choices, one of my editors and I have a running joke about “atrocious zombies” after having read that description in a book. “Atrocious” is one of those words that unless a character says it, it should be avoided. “Cantankerous” is another that bugs me. I find that many writers find a nifty word from their thesaurus, and then over-use it. If a word isn’t one you commonly hear or use, then skip it. Sometimes “feces” is a useful word as opposed to the more vulgar term, but above all, please, please, don’t use “poop” (as in the ‘zombie stepped in poop.’) Are you laughing? I have read these things! I see things and shiver. One of my favorites was: “The walking dead corpses were FUBARed”. Please don’t write “Ginger ran, her jiggly bits bouncing.”

 

Read the rest of the post on Moonbooks.

I'm Here

It has been a quiet day in rural Connecticut with time set aside for a brief note announcing my presence. The best way to know of my writings is to visit www.delighteer.com

Friday the 13th

Today is Friday the 13th. Ooooh, cue Twilight Zone music. Of course, it’s all superstitious bollocks, like being afraid to walk under a ladder or thinking a political agitator died two thousand years ago for your sins. I mean, really? Get over yourself. But why is Friday 13th considered unlucky? Folklore and superstition is some pretty interesting stuff and it’s great fodder for stories. The more we draw on existing mythologies and folk tales, that have endured over centuries for a reason, the more we can make our own stories feel authentic and convincing, thereby helping readers to suspend disbelief and enjoy a fictional journey.

And who knows, maybe in two thousand years there’ll be a group of weirdos attending the Church of RealmShift, praying to the god Isiah for absolution. That would be quite funny, but we really should have grown out of this stuff already, so considering another two thousand years of it is a bit sad.

Anyway, Friday 13th – where does that particular bad luck superstition come from? Well, the answer, as is so often the case: No one knows. But there are a lot of theories. Interestingly, this particular superstition seems to be quite young, with no real references before the 20th century. Going to the fount of all knowledge (Wikipedia, obviously), we get these possibilities:

1. In numerology, the number twelve is considered the number of completeness, as reflected in the twelve months of the year, twelve hours of the clock, twelve gods of Olympus, twelve tribes of Israel, twelve Apostles of Jesus, the 12 successors of Muhammad in Shia Islam, etc., whereas the number thirteen was considered irregular, transgressing this completeness. There is also a superstition, thought by some to derive from the Last Supper or a Norse myth [more on this later – Alan], that having thirteen people seated at a table will result in the death of one of the diners.

2. Friday has been considered an unlucky day at least since the 14th century’s The Canterbury Tales, and many other professions have regarded Friday as an unlucky day to undertake journeys, begin new projects or deploy releases in production. Black Friday has been associated with stock market crashes and other disasters since the 1800s.

3. One author, noting that references are all but nonexistent before 1907 but frequently seen thereafter, has argued that its popularity derives from the publication that year of Thomas W. Lawson’s popular novel Friday, the Thirteenth, in which an unscrupulous broker takes advantage of the superstition to create a Wall Street panic on a Friday the 13th. Records of the superstition are rarely found before the 20th century, when it became extremely common.

It seems that there were existing superstitious issues regarding both the number 13 and Fridays, so it seems “logical” that Friday the 13th is doom with extra tragic sauce.

Another theory is that Primitive man had only his 10 fingers and two feet to represent units, so he could count no higher than 12. What lay beyond that — 13 — was an impenetrable mystery to our prehistoric forebears, hence an object of superstition.

That doesn’t really take into account toes, though, so seems like a dodgy idea to me. Not to mention that surely there would be no evidence of anything beyond 12, thereby nothing to be scared of. It certainly wouldn’t have been called 13… or would it? That one makes no bloody sense at all.

Here’s another interesting idea from David Emery at Urban Legends:

Still other sources speculate that the number 13 may have been purposely vilified by the founders of patriarchal religions in the early days of western civilization because it represented femininity. Thirteen had been revered in prehistoric goddess-worshiping cultures, we are told, because it corresponded to the number of lunar (menstrual) cycles in a year (13 x 28 = 364 days). The “Earth Mother of Laussel,” for example — a 27,000-year-old carving found near the Lascaux caves in France often cited as an icon of matriarchal spirituality — depicts a female figure holding a crescent-shaped horn bearing 13 notches. As the solar calendar triumphed over the lunar with the rise of male-dominated civilization, it is surmised, so did the “perfect” number 12 over the “imperfect” number 13, thereafter considered anathema.

I quite like that theory, not it’s got just enough bastardry in it to make it an enduring myth, and enough impetus for men in power to keep pushing their agenda. It would explain a lot about why 13 is so consistently recognised as a “bad” number if it meant men could retain some patriarchal power. Of course, it also means that superstitious feminists should embrace Friday the 13th, and that might give rise to some brain implosions.

And from the same source, here’s that great Norse yarn, mentioned earlier:

Twelve gods were invited to a banquet at Valhalla. Loki, the Evil One, god of mischief, had been left off the guest list but crashed the party, bringing the total number of attendees to 13. True to character, Loki raised hell by inciting Hod, the blind god of winter, to attack Balder the Good, who was a favorite of the gods. Hod took a spear of mistletoe offered by Loki and obediently hurled it at Balder, killing him instantly. All Valhalla grieved. And although one might take the moral of this story to be “Beware of uninvited guests bearing mistletoe,” the Norse themselves apparently concluded that 13 people at a dinner party is just plain bad luck.

David also points out that there were 13 present at the Last Supper, one of whom betrayed Jesus and triggered the Crucifixion. And that crucifixioin allegedly took place on a Friday. The bad news is just stacking up for the mythologically-minded.

David Emery’s entire article makes for great reading on the subject, so maybe you should just go there and read the whole thing. I’ll wait here.

Good, wasn’t it?

Here’s an interesting extra tidbit, though:

The Dutch Centre for Insurance Statistics (CVS) on June 12, 2008, stated that “fewer accidents and reports of fire and theft occur when the 13th of the month falls on a Friday than on other Fridays, because people are preventatively more careful or just stay home. Statistically speaking, driving is slightly safer on Friday the 13th, at least in the Netherlands; in the last two years, Dutch insurers received reports of an average 7,800 traffic accidents each Friday; but the average figure when the 13th fell on a Friday was just 7,500.”

It’s a small difference, but I do love me a bit of irony.

Anyway, if you really want to test your superstitious credulity this is the year for it – there will be three occurrences of Friday 13th in 2012, exactly 13 weeks apart. OH MY GODS WE’RE DOOMED!

Not that everyone needs to worry. The Spanish and Greeks consider Tuesday 13th bad luck, and the Italians are concerned about Friday 17th. You see, it’s all bollocks.

On the upside, we do get some brilliant words from the superstition:

The fear of Friday the 13th has been called friggatriskaidekaphobia (Frigga being the name of the Norse goddess for whom “Friday” is named and triskaidekaphobia meaning fear of the number thirteen). Seriously, say that word out loud and see if you don’t love it. FRIGGATRISKAIDEKAPHOBIA! Now, your mission, should you choose to accept it, is to use that word today in casual conversation. Best of luck.

There’s also paraskevidekatriaphobia a concatenation of the Greek words Paraskeví (Παρασκευή, meaning “Friday”), and dekatreís (δεκατρείς, meaning “thirteen”) attached to phobía (φοβία, from phóbos, φόβος, meaning “fear”).

My preference definitely goes with friggatriskaidekaphobia, though.

Regardless, the only real bad luck I’ve ever heard of relating to anything directly related to this stuff is a stunt in the US many years ago. A guy was going for a bungee jump stunt where he would bungee off the side of a building and pick up a can of soda from the pavement. Extremely careful calculations were made, regarding his weight, the bungee rope, the distance and so on, to make such a dangerously accurate jump. Finally ready, he made the jump and smashed his head into the pavement and died. Why? Because many US buildings don’t have a 13th floor, skipping from 12 to 14, so the calculations of the building’s height were out by one storey. So 13 was definitely unlucky for that guy, but in a rather ironic way. Of course, all that could just be an urban legend, but it’s a great story nonetheless. And good stories are the best thing about all superstitions.

 

This is a reprint from Alan Baxter‘s The Word.

Five Reasons Great Horror Stories Work

This post, by Joe McKinney, originally appeared on the Moonbooks site on 4/11/12.

There is a fine art to scaring people, and like all art, it is the product of raw talent honed by craft and technique. No one can teach raw talent, of course. You either have it or you don’t. But craft and technique can be taught, and in the following few sections I’m going to walk you through five basic characteristics that all great horror stories share. Learn to incorporate these into your stories, and you’ll find your stories make more sense and, hopefully, sell better.

Creating Insularity

First, let’s talk about your story’s setting.

The key to good, memorable horror is much the same as it is in the business world – location, location, location. Many beginning writers come up with potentially great settings, be it an abandoned town, or a graveyard, or a mill, or a big scary house, and then fail to carry through on its potential. As a result, their great setting never rises above the tired old mainstays of B grade horror.

Think about all the great works of horror you’ve ever read. My guess is that, in every single one, you can point to the setting and say, “That right there sealed the deal for me. When the mother and child were trapped in that Pinto in Cujo, I was scared. When the priests entered Regan’s room in The Exorcist, I felt her bedroom door close behind me. When Pennywise the Clown spoke to the children of Derry, Maine through the drains in their bathrooms, I wanted to escape.”

But why does Stephen King’s story about a creepy old hotel in the middle of nowhere get the scares, and Joe Schmoe’s story set in a similar creepy old hotel fail to deliver? Well, think of some of the words I used in the previous paragraph. “Trapped.” “The door close behind me…” “Escape.” In every sense, the effect created is one of insularity. Through the characters in the story, we get a sense that we are closed off from the rest of the world, that we are no longer free or able to run away, that we are shut in with something very bad.

This explains why old graveyards, or cabins deep in the woods, or small towns, are such common destinations for the horror story. But it doesn’t explain why they work. The challenge, you see, is to show, through your characters, the setting going through a change. The way your characters perceive the setting is key. Think about the movie Jaws for a second. Remember when Brodie, Quint and Hooper are headed out to sea, and they get drunk and trade sea stories? They’re laughing and having a great time. Some might say they’re simply whispering in the dark, but the result is effective nonetheless. The sea seems a peaceful, welcoming place. But the next day, as they engage the shark, and it starts to wreck their boat, they begin to feel small and helpless, fighting for their lives in a hostile, brutal environment. The sea has not changed, obviously. It’s the same sea that seemed so comforting for them the night before. What’s changed is their perception of the sea. The characters in all great horror stories show this changing reaction to the settings in which they find themselves.

To achieve this in your own writing, you need to make readers feel that what was once familiar and comforting has suddenly become oppressive and menacing. In other words, you need to change your characters’ attitude toward the setting, and you do this by showing the setting before and after the horror takes the stage. If you’re sending your protagonist into a small town, you might start off by making that small town feel comforting, friendly, perhaps even nostalgic. Once you’ve established this, you’re free to turn the thumbscrews.

There’s no set rule on how long you have to take to create this feeling of comfort, of normalcy, but you do need to create it. Horror is, after all, the intrusion of the extraordinary into the ordinary, and if you’re going to make that work you have to first create normalcy. A comfortable, familiar setting that suddenly becomes hostile and claustrophobic is the best way to do this.

 

Read the rest of the post, which includes four more keys to success in horror, on the Moonbooks site.