Being that my background is in interior design and visual merchandising, one of the things that inspires me most and drives a lot of my storytelling choices is visual aesthetics. Looking back, this has especially been the case with my WIP, TEROH.
For better or for worse.
I like the subtle complexity of dark espionage stories, the suffocating sense of paranoia, and the way this genre looks on the big screen. I like elemental magic and the larger-than-life way it can be portrayed. I also like the look and sound of old black and white movies like melodramas and film noir—fedoras and glamorous femmes fatales, chiaroscuro lighting, mid-Atlantic accents, psychological drama…
And that’s what drove a lot of my choices while developing TEROH.
The strange thing is that, when I first started writing, I really hadn’t watched very many black and white movies. Just a few. So for them to have such a big influence on the style of my novel seems almost…disproportional, in retrospect. Nevertheless, it’s this very combination of elements that helped determine the spirit of this story.
What got me thinking about all of this in the first place is because not long ago, I watched the 1946 movie Notorious with Cary Grant and Ingrid Bergman for the first time—and I realized something: the style of this film is almost exactly the blend of elements I’ve been trying to channel all along with TEROH. Not directly in a studied, intentional manner but in my own loose but inspired way. (There’s also some romance, I suppose, but it’s by no means the main story.) Granted, I tossed in some fantasy/occult elements, too, which is suited to a more gothic tale. Still, I feel like noir draws some things from the gothic genre, which I’m also drawn to at times. (Jane Eyre and Wide Sargasso Sea anyone?)
So why does any of this matter?Read More »