Ask the Author: Barry L. Hughes
Answered Questions (8)
Barry L. Hughes
In my dream I felt the presence descend on me like a pitch black oily quilt, blocking out all semblance of peace, love, or humanity, so I pinched myself and realized... I wasn't dreaming.
Barry L. Hughes
I actually have several "favorite" fictional couples, though one set I wouldn't necessarily think of as a romantic couple. Some of them you wouldn't know unless you've read my books or screenplays.
First, of course, are Frodo and Sam from LOTR. They stick together and support each other through the hard times. I even like the way Peter Jackson manipulated their relationship in the movies, giving Sam a larger role and greater voice. In the books, he's more passive, except when he saves Frodo in the cave and again in the tower in Mordor. At the end of the book, Sam is left to carry on Frodo's legacy, as if he were a spouse or descendant.
In my screenplays, "Imminent Danger" and "The Enemy Among Us", the relationship between Hooks and Hugh tightens and strengthens in each of their encounters and as each progresses forward in their own lives. She is strength to him. She is logic to him. She is direction for him when he's just adrift in his sorrow. He is silent and unrelenting strength and consistent moral thread for her.
Next, from "The B&L Show" (soon to be re-released as "The Fantastical Biography of Brothers"), Barry and Sunny. I could write volumes on that relationship, (I'm leaving a spoiler out), because they both have to mature and overcome their own obstacles before they can actually become a "couple". When they finally take the plunge, everyone wonders why it took so long. It's fictional, of course, but I think every man wants a wife who adores him for his strengths and ignores his weaknesses and every woman wants a man who will give his life to support, defend and protect her and his family. I wrote this relationship into the story line as an example, or simile, of Biblical marriage. In fact, the entire story is a simile, or metaphor, on the Christian life, salvation and the perception of God... though very few have recognized it as such.
Lastly, I wrote about the relationship of Jake and Ruth as a relationship that could stand the test of time... (spoiler) especially since she's over 100 years old when they finally get together. You'll have to read that one.
There are many fictional couples, but really, the only couples that matter are the flesh and blood ones. We try, as writers, to mold our characters into "flesh-and-blood" style people, but a character's role is set out for them. Our roles are developing and entail our choices; something a character doesn't have.
First, of course, are Frodo and Sam from LOTR. They stick together and support each other through the hard times. I even like the way Peter Jackson manipulated their relationship in the movies, giving Sam a larger role and greater voice. In the books, he's more passive, except when he saves Frodo in the cave and again in the tower in Mordor. At the end of the book, Sam is left to carry on Frodo's legacy, as if he were a spouse or descendant.
In my screenplays, "Imminent Danger" and "The Enemy Among Us", the relationship between Hooks and Hugh tightens and strengthens in each of their encounters and as each progresses forward in their own lives. She is strength to him. She is logic to him. She is direction for him when he's just adrift in his sorrow. He is silent and unrelenting strength and consistent moral thread for her.
Next, from "The B&L Show" (soon to be re-released as "The Fantastical Biography of Brothers"), Barry and Sunny. I could write volumes on that relationship, (I'm leaving a spoiler out), because they both have to mature and overcome their own obstacles before they can actually become a "couple". When they finally take the plunge, everyone wonders why it took so long. It's fictional, of course, but I think every man wants a wife who adores him for his strengths and ignores his weaknesses and every woman wants a man who will give his life to support, defend and protect her and his family. I wrote this relationship into the story line as an example, or simile, of Biblical marriage. In fact, the entire story is a simile, or metaphor, on the Christian life, salvation and the perception of God... though very few have recognized it as such.
Lastly, I wrote about the relationship of Jake and Ruth as a relationship that could stand the test of time... (spoiler) especially since she's over 100 years old when they finally get together. You'll have to read that one.
There are many fictional couples, but really, the only couples that matter are the flesh and blood ones. We try, as writers, to mold our characters into "flesh-and-blood" style people, but a character's role is set out for them. Our roles are developing and entail our choices; something a character doesn't have.
Barry L. Hughes
Being a writer is like being a liar, only it's okay of you're a writer... most of the time... or a politician... the liar part. LOL!
I like it that I can immerse myself in whatever world I wish to create and be whatever I want at whatever time and whatever place.
The absolute BEST thing about being a writer, though? You become immortal...
As long as someone reads your books, plays your music or views your art, you can live forever... think about it. As long as people say your name and as long as you are remembered in the hearts and minds of those who knew you, loved you or read your works you will be around as long as there's print, electronics and memory.
I'd like to say that the ideas of the preceding paragraph are my originals, but I actually got that from a 2015 TV show, "Forever".
Let's take that a step further... Your characters will take on lives of their own!
I can't speak for anyone else, but many of my characters are based on either my own personality or people I know. Just like with Tolkien's characters, someday my people may take on physical personas... to me that's most exciting. To think that my creations may one day attain life-like status. WOW!
This all happens even if my works don't make it as "Best Sellers".
It boggles the mind.
I like it that I can immerse myself in whatever world I wish to create and be whatever I want at whatever time and whatever place.
The absolute BEST thing about being a writer, though? You become immortal...
As long as someone reads your books, plays your music or views your art, you can live forever... think about it. As long as people say your name and as long as you are remembered in the hearts and minds of those who knew you, loved you or read your works you will be around as long as there's print, electronics and memory.
I'd like to say that the ideas of the preceding paragraph are my originals, but I actually got that from a 2015 TV show, "Forever".
Let's take that a step further... Your characters will take on lives of their own!
I can't speak for anyone else, but many of my characters are based on either my own personality or people I know. Just like with Tolkien's characters, someday my people may take on physical personas... to me that's most exciting. To think that my creations may one day attain life-like status. WOW!
This all happens even if my works don't make it as "Best Sellers".
It boggles the mind.
Barry L. Hughes
Write... even if it's bad. Write.
When we start reading or driving nobody expects you to... read at a college level in the first grade. They REALLY don't expect you to drive well, which is why your parents nearly went broke getting you insured! Why does anyone think they should be a pro writer the first time out?
When you get a bad review, please be aware that you're not being personally reviewed... and if you are, just ignore it... but the piece being read by the reader. Sometimes it's simply that the reader doesn't like your genre. Sometimes it's because your text was replete with misspellings and grammatical errors, or formatting faux pas. Take it as free advice and get whatever you can out of it and improve your piece... or simply ignore it.
There are many people whose egos can't take constructive criticism. I've run into a lot of people like that. Don't be one of those. Take your knocks. Ignore the obvious flawed reviews and embrace the reviews that are meant help you.
And... Write!
When we start reading or driving nobody expects you to... read at a college level in the first grade. They REALLY don't expect you to drive well, which is why your parents nearly went broke getting you insured! Why does anyone think they should be a pro writer the first time out?
When you get a bad review, please be aware that you're not being personally reviewed... and if you are, just ignore it... but the piece being read by the reader. Sometimes it's simply that the reader doesn't like your genre. Sometimes it's because your text was replete with misspellings and grammatical errors, or formatting faux pas. Take it as free advice and get whatever you can out of it and improve your piece... or simply ignore it.
There are many people whose egos can't take constructive criticism. I've run into a lot of people like that. Don't be one of those. Take your knocks. Ignore the obvious flawed reviews and embrace the reviews that are meant help you.
And... Write!
Barry L. Hughes
Everybody does it differently, however, when I get blocked I write... yeah, seems counter-intuitive.
I write down the problem... "my character doesn't know what to do next," or maybe "how does the character get out of this situation," and then I start writing things down for the character to do. Sometimes it goes on for pages and sometimes the answer comes within a single sentence. I keep writing until the problem is solved. Otherwise, you lose the momentum or linearity of the story, chapter or idea.
This is the reason I keep a file titled "Outline." I want each chapter or journey to be mapped out before I get to it if I can. It doesn't always work that way.
One consistency is that I always ask myself this question: "Is this what the reader expects?" If it is... I don't do it. I don't want my stories or characters to be easily anticipated. No scenario is to straight forward to not have some kind of twist.
I want my readers to say, "man, I didn't see that coming" or even, "I kind of thought it might happen... but I didn't think the author would go there.
I write down the problem... "my character doesn't know what to do next," or maybe "how does the character get out of this situation," and then I start writing things down for the character to do. Sometimes it goes on for pages and sometimes the answer comes within a single sentence. I keep writing until the problem is solved. Otherwise, you lose the momentum or linearity of the story, chapter or idea.
This is the reason I keep a file titled "Outline." I want each chapter or journey to be mapped out before I get to it if I can. It doesn't always work that way.
One consistency is that I always ask myself this question: "Is this what the reader expects?" If it is... I don't do it. I don't want my stories or characters to be easily anticipated. No scenario is to straight forward to not have some kind of twist.
I want my readers to say, "man, I didn't see that coming" or even, "I kind of thought it might happen... but I didn't think the author would go there.
Barry L. Hughes
Right now I'm finishing up the second, illustrated, edition of the five-book collection of The B&L Show.
In addition, I have a base manuscript of one of my screenplays, The 21st Jack, that I was working on when I began writing The B&L Show. I will get back to that soon.
As for other works, I have nearly twenty scripts and almost as many story ideas in the works.
In addition, I have a base manuscript of one of my screenplays, The 21st Jack, that I was working on when I began writing The B&L Show. I will get back to that soon.
As for other works, I have nearly twenty scripts and almost as many story ideas in the works.
Barry L. Hughes
When I get an idea for a script or a book it either comes to life or it doesn't.
I do a lot of mental story outlining. If it gets past that stage then I will put it on paper/word processor in the form of a short one-paragraph logline or mini-synopsis.
If it's still alive after I put it on paper I then begin a file I call "Outline" where I begin writing ideas for the different aspects of the full story including main characters, etc.
If I'm still interested, then I'll begin writing the ending first and then try to figure out how it should begin.
With The B&L Show there was no hesitation. All 423k+ words were written start to finish in almost exactly a year. That included edits and publishing the first (very rough) edition. I felt like it became as much an obsession and divine inspiration as anything. The final book was written in one month and the final chapter and Postscript in a single day.
I think the final book was so quick because of my outlining process. See my answer on writer's block for more.
I do a lot of mental story outlining. If it gets past that stage then I will put it on paper/word processor in the form of a short one-paragraph logline or mini-synopsis.
If it's still alive after I put it on paper I then begin a file I call "Outline" where I begin writing ideas for the different aspects of the full story including main characters, etc.
If I'm still interested, then I'll begin writing the ending first and then try to figure out how it should begin.
With The B&L Show there was no hesitation. All 423k+ words were written start to finish in almost exactly a year. That included edits and publishing the first (very rough) edition. I felt like it became as much an obsession and divine inspiration as anything. The final book was written in one month and the final chapter and Postscript in a single day.
I think the final book was so quick because of my outlining process. See my answer on writer's block for more.
Barry L. Hughes
It was a dream. In the dream my brother and I were on an island being attacked by giant flying lizards. We were trying to shoot them, but the bullets were bouncing off. Then I got the bright idea to charge the beast, stick the barrel in its mouth and pull the trigger... then we were killed by arrows from the islanders... and thus was born ending of The B&L Show. Later that morning on my way to work, an hour & 15 minutes one way, I couldn't get the idea out of my mind, so I began working on how we got to that island and the rest, as they say, is history.
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