Let Me Introduce You: Thayer Sarrano

My readers and writing colleagues are well aware of my penchant toward southern gothic literature, so it's no wonder why I'm a fan of today's guest: Thayer Sarrano. My introduction to her was her song "Quiet Now Your Bones" (click for sample) from her album Lift Your Eyes to the Hills, (2012). Her songwriting is deep and will take you with it, immersing you into a mystical southern gothic wonderland. I've asked Thayer a few questions, and she was kind enough to oblige:

DN: You're the first truly southern gothic artist I've featured on the blog, and it's an honor to host a kindred spirit here. One trip through your album proves that you're a strong writer. Is southern gothic something you slipped into easily or has it been a fairly recent discovery for you?

TS: Thank you, what a compliment! I honestly don't know. I think the instrumental side of what I write is more a reflection of that southern, dark or gothic style. I also grew up with a lot of chanting in church, so there is this cathedral gothic that's part of me too. As far as the lyrics go, so far I've just written without thinking about it much. So far I've only written about personal experiences, even if they exist sometimes in a different world. I say "so far" because I'm interested in pushing myself further now and expanding my writing beyond my own experience.

DN: What's the strength behind the southern gothic voice that makes it powerful?

TS: I wish I was my grandaddy to answer this question, I'm not qualified! Honesty is the first thing that comes to mind. Southern gothic writers I like have a way of showing everything above and below the surface in such a simple way that feels poetic, complex, and definitely stirring. Contrasts are powerful, and I think there's a lot of play in contrast in southern gothic writing.

DN: You've listed before that Nick Cave, Tom Waits, and Neil Young have had an influence on your music. Do you have an author that's had a strong influence on your writing?

TS: I love Rainer Maria Rilke, but I think I'd have to say inspiration more than influence, because I've never written anything that could be compared to the level of his poetry.

DN: What interests outside of music do you have that help shape your style?

TS: Painting is probably the biggest. Often I'll make a painting, which is a way to give form to the abstract/spiritual/ether, feelings, senses--whatever it should be called. Then, at some point I just look at what I made and write a song about what I'm seeing. I always feel that my writing is literal, descriptive, and factual. Nature, places I feel connected to, the woods, fashion, home, yoga/spiritual practices, and weather are other interests that shape my style.

DN: I've seen more chatter recently from the music world about Athens, GA in reference to several music festivals. It's been a great music scene for a long time, but do you think it's seeing a revival?

TS: I wouldn't say revival, because I don't think it's ever stopped. But it does feel really exciting here. There have been some great new venues lately, a new music business program at the university, Camp Amped (a rock and roll camp for teenage musicians held at Nuci's Space - a resource for mental and physical health and practice spaces for musicians), and bands and festivals seem to get more attention all the time as they keep growing. 

DN: If I go to Athens, GA to visit what do I absolutely have to do while in the area?

TS: See the tree that owns itself, eat breakfast, lunch, and dinner (I can't list restaurants because there are too many that are wonderful), go to Avid Bookstore, Community (sustainable fashion boutique), Agora (vintage and treasures), and go to one of our record stores downtown to buy local music :-) Pick up a Flagpole magazine and go to all the shows you like and the bars in between. It's all really close together, so just do everything!

DN: And speaking of things to do, what have you been meaning to do in the area but haven't yet?

TS: I've always been meaning to do Flagpole Magazine's self-guided Music History Walking Tour.

DN: You've been writing poetry for quite a while. You wouldn't happen to have a poem written by six-year-old Thayer that you'd like to share would you?

TS: I cannot think of a poem, but I did write and illustrate a children's book when I was six for my school library called "Kind Tales of the Forest."  It starts off with these two young chipmunks that dream of playing guitar and piano, but they have no money for instruments...foreshadowing! But who knows, maybe it'll all come full circle--be published and fund my new record!

DN:  A big thank you to you, Thayer. You've convinced me I need to get to Athens sooner rather than later. To all of you readers out there, you can go to www.ThayerSarrano.com for more information on her albums and for ways to stay in touch with her. And yes, you can follow her on Facebook and Twitter.

How to Keep a Story Moving: The MacGuffin

I have to credit a couple of friends for sparking a fantastic discussion about plot catalysts and story conveniences. The conversation centered around what the MacGuffin of The Hobbit was.

First though, let's discuss what a MacGuffin is. Actually, let's hear what Alfred Hitchcock says it is:

According to Hitchcock then, a MacGuffin can be an item that may be fairly inconsequential to the story itself but provides motivation for the story characters. It can simply be an end point and not an active participant in the story. In a sense, it's the rail that keeps everything moving forward steadily. To use a Hitchcock movie as an example, let's talk Psycho.

Spoilers will follow, but Psycho was made over ten years ago so it's fair game. In the beginning of the movie, Marion - the leading lady - steals $40,000 from her employer. She goes to the Bates Motel and is murdered by the owner although he is unaware of the $40,000. Without that knowledge he buries the money hidden in her things along with her body and continues on. Meanwhile, Marion's employer begins a search for her because he wants the money. He involves Marion's family who in turn involves an investigator. Because of all these people being involved, Hitchcock now has an excuse to bring a cast of characters to the motel and begin his real story - the story of Norman Bates and his mother. After being gone for most of the movie, the concept of Marion and the $40,000 finally appears again but only at the final credits.

The $40,000 is the MacGuffin. It's not something the audience cares about all that much but is the central desire of most of the story's characters. A case can be made too that Marion is nothing more than a MacGuffin as well. In the end the desire to find the $40,000 and Marion was sufficient to involve multiple characters.

When we look at The Hobbit now with the understanding of what a MacGuffin is, it's easy to identify the treasure guarded by the dragon as the item that drives the story. It pushes all of the characters forward, keeps them on track, and enables Bilbo Baggins to pick up a very important ring for Tolkien's Lord of the Rings.

How to apply this concept to your manuscript? Your characters need depth and a MacGuffin is an excellent foundation, keeping the characters - and readers - grounded. As your characters develop and become more than static names, you may end up with a completely different character by story's end. Your readers need a constant reference point just as your characters need to be held to the storyline - your answer is the MacGuffin.

What other examples of MacGuffins can you think of?

"In a Lonely Place," Tragedy of an Everyman

Many types of characters in literature and film exist, but right now the everyman is the most intriguing for me. He's a mix of hope and tragedy. Few actors capture that emotion quite like Humphrey Bogart, and few directors help create such a character like Nicholas Ray did with his film In a Lonely Place.

Love is at the center of life. The struggle for acceptance, the struggle to be understood, the desire to express. It's normal to crave the affection of others despite the limiting thought of inadequacy. We're all inadequate, and in this film it's that inadequacy - when matched with the circumstances - that drives this story.

Bogart's character, Dixon Steele, is a screenwriter known for being an angry man. When a girl he was seen with ends up murdered the next day, everyone looks to him as the prime suspect.

A beautiful neighbor named Laurel Gray (Gloria Grahame) was one of the last people to see Dixon Steele and the soon-to-be-murdered girl together. Because of the murder investigation, Dixon and Laurel meet and become involved in an overpowering friendship and affair. The movie isn't strictly a question of whether they will ultimately love each other. Instead it is exploring how closely Laurel is willing to flirt with the violent streak Dixon, a man suspected of murder, is known for.

In a Lonely Place is as glowing, delicate, seductive, and tragic as each cigarette Gloria Grahame pinches between her lips and sets to the flame Humphrey Bogart holds in his hand. It's a dangerous movie because of how little commitment they have to each other paired with the affection Laurel has for such a volatile character. It captures the disappointment and frustrations that come with the misunderstandings that can't be divorced from the subject of love.

Since the making of this movie, the storyline has been done time and time again, but in the words of Dixon Steele: "It was his story against mine, but of course, I told my story better."