Nothing is more satisfying than watching a victim’s life flicker out slowly, lovingly.
Committing murder in text has its challenges. As a writer, that luxurious feeling of ending a character’s life is highly personal. It’s not just about the words used to describe a murder, it’s about why it was committed. There are many ways to die but few feelings associated to killing. Investigating those makes murder great!
Action thrillers tend to depersonalise murder. Messy waves of bullets and destruction distance those who kill from those who die. Committing murder of-the-masses is sweet but it doesn’t romanticize the special relationship that exists between killer and victim. Emotional reasoning is lost in the noise of convoluted weaponry and explosive effects.
Hatred is an emotion, not a thing. It’s like love, it’s pure, true but unable to be contained. When weapons are removed from hatred’s tendrils, it must find another way to express itself. When we love with our heart, we make love with our body. It takes an extraordinary story to provide hate at the same level and then tell it just as intimately, passionately.
Committing Murder Intimately
Anytime we reveal our inner selves to another, we are at intimacy’s front door. Murder can be treated like any other emotional act. All we need is to write the right romance into the narrative to twist our thoughts far enough to see that it can make perfect sense too.
SEETHINGS was written to make murder that twisted. I wrote it with the intention of giving my reader an opportunity to side with the emotion of pure hate and to bask in its pleasures.
Committing murder is not a sport in SEETHINGS. It’s not passing fad either. It’s a means to an end. Our killer is trying to make sense of intimacy, experiencing both emotions simultaneously but unable to accept the results of either. Situational dissociation bridges the gap and a new character enters the picture: Kurdaitcha.
That’s SEETHINGS. (Kindle version avail) Read it now!
-Michael Forman (Author)
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‘Forman’s writing style is artful, with the protagonist Mitchell’s warped thought processes masterfully exposed. The author has a powerful and vivid command of language and his word pictures are stark and disturbingly real.’ – Linda J Bettenay, author of ‘Secrets Mothers Keep’ and ‘Wishes For Starlight’