I recently read a novel but struggled to get into the story. Each time I put it down, I had no desire to pick it back up. Tempted to stop reading, I decided to forge ahead and figure out why it wasn't grabbing me. I made a list of its strengths and weaknesses.
Strengths:
- Excellent writing. The author balances dialogue, thoughts, action, and narrative with ease.
- Modern, relatable characters. The hero and heroine (it's a contemporary romance) are realistic and have believable conflicts and goals. Plus, I liked both of them.
- Logical progression of plot. The story arc made sense and proceeded in a way I would expect.
Weaknesses:
- Too many characters introduced in first chapters. This book is the second or third in a series, so extra characters should be involved, but too many too soon only confuses the reader.
- Sunday drive pacing. While the plot progresses logically, it does not progress quickly. There doesn't seem to be any urgency.
- The hero and heroine do not share enough scenes in the first half. They are in scenes together, but they rarely interact. How are they supposed to fall in love if they don't talk to each other?
Not every book is perfect, and the strengths in this one more than offset the weaknesses. However, I pinpointed one major area that needed work.
Each scene had a point, but the stakes were never high enough for me to want to read the next scene.
Jack M. Bickham discusses what an effective scene accomplishes in his excellent book, Scene & Structure. I'm paraphrasing here, but basically each scene should be told from one character's viewpoint, and the character must have a clear goal, which is obvious from the beginning of the scene. The character will then experience conflict in reaching that goal until the scene ends with the character failing to meet the goal.
Summary of Scene Essentials:
1. Introduction of the viewpoint character's scene goal.
2. Conflict threatening the character's ability to reach goal.
3. Failure of character to meet goal.
But...the character has to win sometimes, right? Yes. This is why it's important to be clear about the character's scene goal. If the book requires your heroine to convince her coworker to attend a wedding with her, you might choose to split the section into two scenes. The first scene will be told from her viewpoint. She gets the courage to ask him, he puts up a fight, and the scene ends with him refusing.
1. She asks coworker to be her date for wedding. (Goal)
2. He gives lame excuses. (Conflict)
3. He refuses. (Failure)
But...he has to agree. It's a vital plot point. Okay, no problem. The next scene will be in his point of view, and his scene goal will be to get out of the wedding invitation. But the heroine is very convincing, and he finds himself saying yes when he wants to say no.
1. He must not agree to this wedding invitation. (Goal)
2. She has lawyer-like convincing skills. (Conflict)
3. He accepts. (Failure)
If we ignore the scene essential of the character failing, we waste an opportunity to keep the reader on edge. We could have written the previous scene in the heroine's point of view and had her ask the hero to the wedding. He could still put up a fight, but in the end he agrees. The problem with this is that the heroine wins.
As readers, we like to watch our heroes and heroines suffer. We love that gnawing feeling in our gut when things go wrong. We need the hero and heroine to fail repeatedly for us to keep turning the pages. If they only win, what's the point of reading more? Our goal as writers should be to provide a sense of urgency--regardless what genre we write--and have the reader constantly ask, what comes next? How is the main character going to handle this? I've got to find out more!
Let's talk about this. Anything to add? Any questions?
Have a terrific day!
Showing posts with label characters. Show all posts
Showing posts with label characters. Show all posts
Monday, November 28, 2011
Friday, August 26, 2011
Characters: In a Bubble From Reality?
I've had a hard time engaging in things lately. Not sure how to describe it, but after an extremely busy summer, I'm tired and slowly building my reserves back up. I'm going through the motions with household chores and even something as simple as writing a blog post leaves me stumped. It's as if my creativity is shouting, "Please, Ma, let me sleep one more hour."
They reside in a bubble from reality, and sometimes I need a few days in the bubble too.
Enjoy your Friday!
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| Our relaxing deck. One of my favorite spots to read and zone out. |
In fact, I just spent 45 minutes skimming online newspapers in the hopes a blog topic would spark. It didn't. So not knowing what else to do, I glanced out our patio door at the gorgeous flowers and pretty wicker furniture and realized maybe I did have a topic.
In my books, my main characters are focused on the plot issues at hand. They rarely worry about the world events happening that day or current politics, how the country's economy is faring, what big ticket item they long to purchase, or if they just spent an hour doing dishes, vacuuming, and sorting clothes to drop off at a charity. In other words, they're in a special bubble--they're detached from the hundreds of stimuli that seem to assault me on a daily basis.
Right now, I can't muster the energy to care about the downgrade in the U.S. credit rating, the fall of the stock market, if Amy Winehouse's body had drugs in it or didn't when she died, if Kim Kardashian's wedding was the event of the summer, or if unemployment is on the rise or fall. And you know what? My characters don't either.
They reside in a bubble from reality, and sometimes I need a few days in the bubble too.
Soon, I'll be engaged in current events. What seems so unimportant to me now will be important again, but in the meantime, I'm enjoying the freedom my characters have.
If you're a writer, do your characters enjoy a detachment from current events? Or do they discuss what they've read in the daily paper?
Monday, May 24, 2010
Why is Your Character There?
Today's random question helps you decide if a scene, or portion of a scene, is necessary.
Read through the scene and ask yourself, why is this character here? In this scene? Right now? Is it vital for the reader to know what the character is doing?
Unfortunately, sometimes it isn't important the reader know what the character is doing right then. If it shows your character's daily routine, you can probably cut the information.
Example:
You write three pages describing the heroine waking up, popping a few slices of bread in the toaster for breakfast, flipping on the Today show, and walking past a rumpled bedspread on the way to her closet.
Why would the reader need to know this? The heroine goes through these motions every day. This information isn't new, it isn't revealing, and it isn't moving the story forward. Now, if she normally shoots out of bed, skips breakfast, and rushes out the door, but you're showing an upset in her normal routine that is vital to the plot--leave the information in. Otherwise, cut it.
The character should always have a reason for acting out the scene. A routine is not a reason because she'd be doing it anyway.
However, sometimes your character will be mentally working out the events in a previous scene--this is called a sequel--and you might not want an action-packed setting for this. Try to show the character's mental state through his actions as he's mentally wrestling what to do. I think it's a good idea to avoid lengthy routines even in sequels. Occasionally, you can pick one "comfort" habit and work the thoughts around it. This gives more bang for the buck.
Let's use the previous scenario. In the previous scene, the heroine found out her father may or may not be cheating on her mother. The heroine is a neat-freak. Instead of walking through her morning routine while she's trying to decide if she should confront her father or not, consider having all of the thoughts take place while she makes her bed. Be specific about the exact way she smooths the sheets. Her precision with folding the blanket just so. The way she uses two hands to place each sham and how she tilts the accent pillow to a ninety-degree angle.
This uses the setting to show her need to be in control. She's comforting herself through her confusing thoughts by rendering precision to something she can control. Also, this grounds the reader in the time and place as she thinks. The act of making a bed can become important if you approach it with care.
Have you been guilty of writing "the boring parts" of your characters' lives? (I have!) How hard is it for you to cut instances where she's brushing her teeth, sipping a cup of tea, or deciding which pajamas to wear?
Join me on Wednesday for another random question, this time for you!
Read through the scene and ask yourself, why is this character here? In this scene? Right now? Is it vital for the reader to know what the character is doing?
Unfortunately, sometimes it isn't important the reader know what the character is doing right then. If it shows your character's daily routine, you can probably cut the information.
Example:
You write three pages describing the heroine waking up, popping a few slices of bread in the toaster for breakfast, flipping on the Today show, and walking past a rumpled bedspread on the way to her closet.
Why would the reader need to know this? The heroine goes through these motions every day. This information isn't new, it isn't revealing, and it isn't moving the story forward. Now, if she normally shoots out of bed, skips breakfast, and rushes out the door, but you're showing an upset in her normal routine that is vital to the plot--leave the information in. Otherwise, cut it.
The character should always have a reason for acting out the scene. A routine is not a reason because she'd be doing it anyway.
However, sometimes your character will be mentally working out the events in a previous scene--this is called a sequel--and you might not want an action-packed setting for this. Try to show the character's mental state through his actions as he's mentally wrestling what to do. I think it's a good idea to avoid lengthy routines even in sequels. Occasionally, you can pick one "comfort" habit and work the thoughts around it. This gives more bang for the buck.
Let's use the previous scenario. In the previous scene, the heroine found out her father may or may not be cheating on her mother. The heroine is a neat-freak. Instead of walking through her morning routine while she's trying to decide if she should confront her father or not, consider having all of the thoughts take place while she makes her bed. Be specific about the exact way she smooths the sheets. Her precision with folding the blanket just so. The way she uses two hands to place each sham and how she tilts the accent pillow to a ninety-degree angle.
This uses the setting to show her need to be in control. She's comforting herself through her confusing thoughts by rendering precision to something she can control. Also, this grounds the reader in the time and place as she thinks. The act of making a bed can become important if you approach it with care.
Have you been guilty of writing "the boring parts" of your characters' lives? (I have!) How hard is it for you to cut instances where she's brushing her teeth, sipping a cup of tea, or deciding which pajamas to wear?
Join me on Wednesday for another random question, this time for you!
Wednesday, May 12, 2010
What Would Grandpa Think?
The random question for today is what would grandpa think? This question adds internal conflict for your characters and keeps them likable during a scene where they're either behaving badly or need to make a tough decision.
Now, most of you instinctively know how your character will react to any given question, but sometimes we want our characters to surprise us. Not act out of character--just surprise us.
Let's use Monday's scenario except we'll switch the point of view from Tessa to John.
Setting: John's farmhouse, Saturday 11:00am, springtime
Players: Tessa and John
Scene Question: Will John agree to attend a wedding with Tessa?
Set up: John is anti-social and Tessa is nervous Nelly, desperate to have a date to a co-worker's wedding. And for some reason John is the only person on the planet she can ask.
So John doesn't want to go the wedding. He's gruff with her and tries to dismiss her, but she wedges her black heel into the door frame and won't be dismissed. He's getting panicky, which means he's not the nicest person. To keep John from being a complete jerk, this is a good idea to ask "What would John's grandpa think about the way he's treating Tessa?"
Hs grandpa treated his grandma like a prize rose. Now John has to let her in and hear her out. He lowers his voice, tries to find a kind way to let her down. And ultimately, he agrees to attend the wedding. Grandpa taught him right.
This works wonders at provoking a guilty conscience. You could also go the other way and have his grandpa be a worthless bum. No matter, your character will be affected by memories of him.
I realize these light questions won't cure everything, but they're a fun way to clear up confusion on how and why your character will react in a scene.
Don't you love sloshing guilt on your characters?
Join me on Friday to review and set one goal!
Now, most of you instinctively know how your character will react to any given question, but sometimes we want our characters to surprise us. Not act out of character--just surprise us.
Let's use Monday's scenario except we'll switch the point of view from Tessa to John.
Setting: John's farmhouse, Saturday 11:00am, springtime
Players: Tessa and John
Scene Question: Will John agree to attend a wedding with Tessa?
Set up: John is anti-social and Tessa is nervous Nelly, desperate to have a date to a co-worker's wedding. And for some reason John is the only person on the planet she can ask.
So John doesn't want to go the wedding. He's gruff with her and tries to dismiss her, but she wedges her black heel into the door frame and won't be dismissed. He's getting panicky, which means he's not the nicest person. To keep John from being a complete jerk, this is a good idea to ask "What would John's grandpa think about the way he's treating Tessa?"
Hs grandpa treated his grandma like a prize rose. Now John has to let her in and hear her out. He lowers his voice, tries to find a kind way to let her down. And ultimately, he agrees to attend the wedding. Grandpa taught him right.
This works wonders at provoking a guilty conscience. You could also go the other way and have his grandpa be a worthless bum. No matter, your character will be affected by memories of him.
I realize these light questions won't cure everything, but they're a fun way to clear up confusion on how and why your character will react in a scene.
Don't you love sloshing guilt on your characters?
Join me on Friday to review and set one goal!
Friday, February 5, 2010
Romance is Exclusive
Today we’re talking about another vital component to romance: it’s exclusive. Romance is inclusive in that it is between two people, but it is exclusive to all others. I don’t believe romance was meant to be shared between more than two people. You may disagree, but I don’t believe it is healthy when more are in the picture.
There are many dualities in the universe. Night and day. Good and evil. Sleep and awake. Male and female. Wouldn’t it be strange if there was another option besides male and female? It would bring a whole new level to planning for a baby, that’s for sure!
With romance, no more than two people are needed. In fact, it’s often disastrous when a third is brought into the mix. How many husbands have killed another man because of an affair? They don’t call them crimes of passion for nothing.
Romance and love require trust. How can I feel unique and special if my mate views another person with the same intensity? I don’t even believe it’s possible to feel the same intensity for two separate people. You will always be drawn to one over the other even if in time it changes.
In order for a romantic act to have impact, it assumes exclusivity. It tells the recipient “hey, you’re special.” I don’t think a woman would feel special if a man sent her and her best friend a dozen roses. I know I would not feel special; I would feel enraged.
Do you ever have a love triangle in your writing? How do you resolve it? Do you stay true to human nature and give your characters consequences for not respecting the feelings of others? Or does the main character get to have her cake and eat it too?
Have a wonderful weekend!
There are many dualities in the universe. Night and day. Good and evil. Sleep and awake. Male and female. Wouldn’t it be strange if there was another option besides male and female? It would bring a whole new level to planning for a baby, that’s for sure!
With romance, no more than two people are needed. In fact, it’s often disastrous when a third is brought into the mix. How many husbands have killed another man because of an affair? They don’t call them crimes of passion for nothing.
Romance and love require trust. How can I feel unique and special if my mate views another person with the same intensity? I don’t even believe it’s possible to feel the same intensity for two separate people. You will always be drawn to one over the other even if in time it changes.
In order for a romantic act to have impact, it assumes exclusivity. It tells the recipient “hey, you’re special.” I don’t think a woman would feel special if a man sent her and her best friend a dozen roses. I know I would not feel special; I would feel enraged.
Do you ever have a love triangle in your writing? How do you resolve it? Do you stay true to human nature and give your characters consequences for not respecting the feelings of others? Or does the main character get to have her cake and eat it too?
Have a wonderful weekend!
Wednesday, February 3, 2010
Romance Requires Belief
This week we’re discussing the necessary components for romance. Today we’ll explore how believing in your worthiness is essential to romance.
Romance requires belief: belief that we are special because it is reflected in our loved one’s eyes. There is something unique about us that the other person is attracted to.
One of the great obstacles to love, and if I’m completely honest, life, is the lack of belief in our worthiness. Someone shows interest, and we scoff that it’s because he just broke up with someone, is desperate, or because we finally lost ten pounds. Or maybe we have no problem finding someone physically interested in us, but we get the impression he's smitten with the outside, not our essence.
What makes love romantic is that the person is attracted to who we are. It has little to do with our appearance or life circumstances.
Romance requires the ability and willingness to see ourselves as special through someone else’s eyes. It’s a heady feeling, a scary feeling, and a feeling we want to lock up and hold onto forever. If we decide to pursue the feelings of attraction, we have to trust the other person, and that means trusting their attraction to us.
Do your characters, whether you write romance or not, ever doubt their worthiness? There are many ways to have them overcome this. They can solve a mystery or save the world, but they can also choose to love and be loved.
Join me on Friday when we’ll delve into the exclusivity of romance.
Romance requires belief: belief that we are special because it is reflected in our loved one’s eyes. There is something unique about us that the other person is attracted to.
One of the great obstacles to love, and if I’m completely honest, life, is the lack of belief in our worthiness. Someone shows interest, and we scoff that it’s because he just broke up with someone, is desperate, or because we finally lost ten pounds. Or maybe we have no problem finding someone physically interested in us, but we get the impression he's smitten with the outside, not our essence.
What makes love romantic is that the person is attracted to who we are. It has little to do with our appearance or life circumstances.
Romance requires the ability and willingness to see ourselves as special through someone else’s eyes. It’s a heady feeling, a scary feeling, and a feeling we want to lock up and hold onto forever. If we decide to pursue the feelings of attraction, we have to trust the other person, and that means trusting their attraction to us.
Do your characters, whether you write romance or not, ever doubt their worthiness? There are many ways to have them overcome this. They can solve a mystery or save the world, but they can also choose to love and be loved.
Join me on Friday when we’ll delve into the exclusivity of romance.
Monday, February 1, 2010
February: Ah, Romance
February makes me swoon. Roses, hearts, and chocolates abound in the stores, and I love all three. Little holidays like Valentine’s Day do much to relieve the tedium of winter with its gray skies and frigid temps. This month we’re focusing on romance: what it is, how it can perk up a book in any genre, and the romance every writer feels with her own writing.
Photo by smoorenburg
As many of you know, I write romance novels. I’ve been reading them since I bought my first Harlequin romance at a flea market when I was thirteen. Let me tell you, I was hooked! I still love Harlequins, that’s why I write category romances.
When I started brainstorming possible posts for this month, I tried to narrow down what romance consists of. The list could have become quite lengthy, but to me, three things stood out.
1. Romance equals generosity.
2. Romance requires a person to see herself as worthy of love when reflected in the other’s eyes.
3. Romance is inclusive and exclusive: it includes one other person but excludes all others.
Romantic acts are generous. Whether you’re in the first date stage or have been married for fifty years, you think about your loved one and want to do something nice for them. Generosity does not always equal spending money. Two dozen long stem roses are romantic, but so is a warm hug on a Monday night after your spouse had a bad day.
What makes the act generous is that you want to make your loved one feel good. You want them to know how much you care. You want them to know that you care for them in a way you don’t care for anyone else. Sure, you might give your niece a hug, or you might give your best friend a box of chocolates, and you’re giving it to them to make them feel cared for, but there’s an extra level of intensity to a gift you give to your romantic partner. They know it. You know it. And it’s magical.
Do your characters act generously? Are they in a romantic relationship? Do you feel a romantic gesture is a generous act? I’d love to hear your thoughts on this.
Join me on Wednesday when we’ll explore number two on the above list.
Photo by smoorenburg
As many of you know, I write romance novels. I’ve been reading them since I bought my first Harlequin romance at a flea market when I was thirteen. Let me tell you, I was hooked! I still love Harlequins, that’s why I write category romances.
When I started brainstorming possible posts for this month, I tried to narrow down what romance consists of. The list could have become quite lengthy, but to me, three things stood out.
1. Romance equals generosity.
2. Romance requires a person to see herself as worthy of love when reflected in the other’s eyes.
3. Romance is inclusive and exclusive: it includes one other person but excludes all others.
Romantic acts are generous. Whether you’re in the first date stage or have been married for fifty years, you think about your loved one and want to do something nice for them. Generosity does not always equal spending money. Two dozen long stem roses are romantic, but so is a warm hug on a Monday night after your spouse had a bad day.
What makes the act generous is that you want to make your loved one feel good. You want them to know how much you care. You want them to know that you care for them in a way you don’t care for anyone else. Sure, you might give your niece a hug, or you might give your best friend a box of chocolates, and you’re giving it to them to make them feel cared for, but there’s an extra level of intensity to a gift you give to your romantic partner. They know it. You know it. And it’s magical.
Do your characters act generously? Are they in a romantic relationship? Do you feel a romantic gesture is a generous act? I’d love to hear your thoughts on this.
Join me on Wednesday when we’ll explore number two on the above list.
Monday, November 30, 2009
Tricks to Get to Know Your Characters
November's over already? How did all of you NaNo-ers do? I hope everyone had a terrific month! So what's on the plate for December? Do you cut back on your writing goals due to the busyness of the season? Or do you find the pace invigorating?
(All together now...awww!!)
Recently, I've learned some cool tricks to get to know your characters. Since I've spent the last two weeks pre-writing, I tried a few of them out.
Tracy Madison (author of A Taste of Magic, A Stroke of Magic, and coming soon, A Breath of Magic) gave me the tip to write a letter to yourself from your main character. (Does this make sense? Basically, it would be Dear Jill, Blah blah blah... Sincerely, Main Character.) I did this and really got a sense of what drives my characters and how they see themselves. Very illuminating.
A book I'm reading by Alicia Rasley called The Story Within recommends free writing in your main character's point of view. This would be very helpful when you're in the middle of the book and you're not certain what the character will do next. It would also be beneficial in the pre-writing stage to better flesh out your characters.
Head over to Northern Writer to read about Paul Greci's Riff Writing. I loved the concept and will definitely be trying it soon.
The next idea has been written about on several blogs, so I can't give credit to the originator. Interview your characters. I haven't tried this yet, but I'm storing it away for future use.
Do you have a cool trick to get to know your characters? I want to hear about it!
Join me on Wednesday when we'll kick off our December topic: One-Minute Vacations!
(All together now...awww!!)
Recently, I've learned some cool tricks to get to know your characters. Since I've spent the last two weeks pre-writing, I tried a few of them out.
Tracy Madison (author of A Taste of Magic, A Stroke of Magic, and coming soon, A Breath of Magic) gave me the tip to write a letter to yourself from your main character. (Does this make sense? Basically, it would be Dear Jill, Blah blah blah... Sincerely, Main Character.) I did this and really got a sense of what drives my characters and how they see themselves. Very illuminating.
A book I'm reading by Alicia Rasley called The Story Within recommends free writing in your main character's point of view. This would be very helpful when you're in the middle of the book and you're not certain what the character will do next. It would also be beneficial in the pre-writing stage to better flesh out your characters.
Head over to Northern Writer to read about Paul Greci's Riff Writing. I loved the concept and will definitely be trying it soon.
The next idea has been written about on several blogs, so I can't give credit to the originator. Interview your characters. I haven't tried this yet, but I'm storing it away for future use.
Do you have a cool trick to get to know your characters? I want to hear about it!
Join me on Wednesday when we'll kick off our December topic: One-Minute Vacations!
Wednesday, July 29, 2009
Tics
Tics. Most of us know someone with a strange tic. A compulsive throat clearer comes to mind. Or the fingernail drummer. The face picker. The hummer. The head jerker. The eye twitcher.
Why do we have these strange and uncontrollable actions? What brings them on? And why are they next to impossible to get rid of?
I'm not recommending you give every character a tic. I'm not even recommending giving your main character a tic. But it might be fun to see how your protagonist reacts to someone close to him who has one.
What if the hero's sister has a permanent scab on her arm because she picks it every day. And she scratches it when she's nervous. When he sees her doing this, how does he feel? Does it make him feel sad? Maybe he remembers when it all started twenty years ago. The bully next door teased her about her frizzy hair and she began to pick at her arm whenever in his presence. Soon, it became a nervous habit. The hero wants to reassure her she's perfect the way she is, but he doesn't know how, so when she picks at the scab, he averts his eyes.
Or maybe it disgusts him? He can't understand why she can't control herself. For goodness sakes, her arm bleeds every day. Gross! His mouth clamps shut in a thin line and his fists bunch up when he sees that drop of blood trickling down her forearm. He has to physically stop himself from yelling at her or punching the wall. He has no idea why his reaction is so strong, and he doesn't want to delve into the why's. As a result, he avoids her.
How do your character's react to tics? I'd love to hear from you!
Happy Writing!
Why do we have these strange and uncontrollable actions? What brings them on? And why are they next to impossible to get rid of?
I'm not recommending you give every character a tic. I'm not even recommending giving your main character a tic. But it might be fun to see how your protagonist reacts to someone close to him who has one.
What if the hero's sister has a permanent scab on her arm because she picks it every day. And she scratches it when she's nervous. When he sees her doing this, how does he feel? Does it make him feel sad? Maybe he remembers when it all started twenty years ago. The bully next door teased her about her frizzy hair and she began to pick at her arm whenever in his presence. Soon, it became a nervous habit. The hero wants to reassure her she's perfect the way she is, but he doesn't know how, so when she picks at the scab, he averts his eyes.
Or maybe it disgusts him? He can't understand why she can't control herself. For goodness sakes, her arm bleeds every day. Gross! His mouth clamps shut in a thin line and his fists bunch up when he sees that drop of blood trickling down her forearm. He has to physically stop himself from yelling at her or punching the wall. He has no idea why his reaction is so strong, and he doesn't want to delve into the why's. As a result, he avoids her.
How do your character's react to tics? I'd love to hear from you!
Happy Writing!
Monday, July 27, 2009
The Swimming Factor
Back to character quirks. Sorry about the diversion last week, but I figured you'd be more interested in conference tidbits.
Today we're talking about the swimming factor. When I'm not sure how my character would react, or when she's reacting more like me, the author, than her, the character, I like to go off on a tangent and think of her as if she were a close friend of mine. And that's when I wonder about her swimming preferences.
Does she like to swim? Love to swim? Or is she afraid of the water?
Does she jump in the deep end, fingers pinching her nose, and whooping for joy? Does she dive in gracefully off the diving board? Or does she sit at the side, sloshing her calves in the water, but never venturing into the pool itself?
This leads me to more questions. What kind of bathing suit would she wear? Or is she comfortable wearing one? Maybe she just sits by the pool in shorts and a t-shirt? Or does she flaunt her stuff in a string bikini? Hide her thighs with the skirt suit?
What about her sunglasses? Movie star big or dollar store practical? Her beach towel? Monogrammed or faded Scooby-Doo?
None of this stuff will probably show up in a book, but it can help me get closer to my character. Someone who cannonballs into a pool, wearing a string bikini, will be very different from the monogrammed-towel-toting non-swimmer. And when I get bogged down writing the same old actions (hint: smile, grin, shrug...), it can help me see other actions she does. It also reminds me who she really is: an individual.
For all of you non-romance writers out there, transplant your character to a mental swimming pool and think about how he or she would react. If it's a historical character, would she be appalled at the immodesty of today? Or would she be excited? If it's a vampire slayer, would he long to join the happy families, but has no idea how? No matter what genre, what time period, you can learn something by sticking your character next to a pool.
What tricks do you use to get closer to your characters?
Side note: I forgot to tell all of you inspirational romance writers out there that Steeple Hill Love Inspired is actively looking for new authors. Don't be afraid to send your books! This might be just the right time for you to get published. eHarlequin.com lists the writing guidelines and submission information.
Happy Writing!
Today we're talking about the swimming factor. When I'm not sure how my character would react, or when she's reacting more like me, the author, than her, the character, I like to go off on a tangent and think of her as if she were a close friend of mine. And that's when I wonder about her swimming preferences.
Does she like to swim? Love to swim? Or is she afraid of the water?
Does she jump in the deep end, fingers pinching her nose, and whooping for joy? Does she dive in gracefully off the diving board? Or does she sit at the side, sloshing her calves in the water, but never venturing into the pool itself?
This leads me to more questions. What kind of bathing suit would she wear? Or is she comfortable wearing one? Maybe she just sits by the pool in shorts and a t-shirt? Or does she flaunt her stuff in a string bikini? Hide her thighs with the skirt suit?
What about her sunglasses? Movie star big or dollar store practical? Her beach towel? Monogrammed or faded Scooby-Doo?
None of this stuff will probably show up in a book, but it can help me get closer to my character. Someone who cannonballs into a pool, wearing a string bikini, will be very different from the monogrammed-towel-toting non-swimmer. And when I get bogged down writing the same old actions (hint: smile, grin, shrug...), it can help me see other actions she does. It also reminds me who she really is: an individual.
For all of you non-romance writers out there, transplant your character to a mental swimming pool and think about how he or she would react. If it's a historical character, would she be appalled at the immodesty of today? Or would she be excited? If it's a vampire slayer, would he long to join the happy families, but has no idea how? No matter what genre, what time period, you can learn something by sticking your character next to a pool.
What tricks do you use to get closer to your characters?
Side note: I forgot to tell all of you inspirational romance writers out there that Steeple Hill Love Inspired is actively looking for new authors. Don't be afraid to send your books! This might be just the right time for you to get published. eHarlequin.com lists the writing guidelines and submission information.
Happy Writing!
Monday, July 13, 2009
Text or Phone?
I'm having more fun sharing questions to ask our characters. Today's gem: do your main characters prefer to text message or talk on the phone?
I'm not a telephone talker, unless the caller is my sister, mother, mother-in-law, or sister-in-law. Or of course my gorgeous hubby. Everyone else I prefer to e-mail, Facebook, Twitter, even write an old-fashioned letter or card.
I think I have a deep-seated fear of miscommunication. When I write, I typically get my point across, but when I talk on the phone, I inevitably talk over or around the person, and struggle to pick up the correct clues. Or I pick up the right clues but interpret them wrong. Stressful!
But phone talkers are typically extroverts, so that might be a factor also. I'm socially successful but an introvert to the core.
Why think about your character's preference? Because it will color every reaction they have. Let's look at an extreme case.
If Donna's a social butterfly, her cell phone will be ringing left and right. Or if it's you write historical, Donna will have plenty of callers, and she won't turn any of them away.
Then there's poor Hank. He likes to text Donna, or e-mail her, or if in the case of a historical, write her letters. He gets frustrated at the constant activity around her. Plus, she never shuts up.
Maybe Hank enjoys listening to her. Maybe her chatter at warp speed distracts him? Does he have a hard time keeping up? Does he feel tired after an hour in her company?
And what about Donna? She likes conversation, not just talking. She loves the give and take, the spurts of giggles, the analyzing of every detail. Hank's so quiet, she has to fill in for him.
Maybe she finishes his sentences? Maybe she throws a fork at his head because he doesn't contribute? Maybe she thinks Hank is the perfect guy, if only he'd open up to her.
Think about this issue when your characters speak. Donna's words will tumble over each other and she'll have a lot to say. Hank will choose each word carefully, and he'll be concise.
What are your characters' preferences? If you have a hero who's glued to his job, you could add him constantly taking calls on his cell phone even though he's supposed to be on vacation. Or if your heroine dislikes conversing, you could show this by her clipped speech along with her penchant for spending hours in her room, writing letters.
Happy Writing!
I'm not a telephone talker, unless the caller is my sister, mother, mother-in-law, or sister-in-law. Or of course my gorgeous hubby. Everyone else I prefer to e-mail, Facebook, Twitter, even write an old-fashioned letter or card.
I think I have a deep-seated fear of miscommunication. When I write, I typically get my point across, but when I talk on the phone, I inevitably talk over or around the person, and struggle to pick up the correct clues. Or I pick up the right clues but interpret them wrong. Stressful!
But phone talkers are typically extroverts, so that might be a factor also. I'm socially successful but an introvert to the core.
Why think about your character's preference? Because it will color every reaction they have. Let's look at an extreme case.
If Donna's a social butterfly, her cell phone will be ringing left and right. Or if it's you write historical, Donna will have plenty of callers, and she won't turn any of them away.
Then there's poor Hank. He likes to text Donna, or e-mail her, or if in the case of a historical, write her letters. He gets frustrated at the constant activity around her. Plus, she never shuts up.
Maybe Hank enjoys listening to her. Maybe her chatter at warp speed distracts him? Does he have a hard time keeping up? Does he feel tired after an hour in her company?
And what about Donna? She likes conversation, not just talking. She loves the give and take, the spurts of giggles, the analyzing of every detail. Hank's so quiet, she has to fill in for him.
Maybe she finishes his sentences? Maybe she throws a fork at his head because he doesn't contribute? Maybe she thinks Hank is the perfect guy, if only he'd open up to her.
Think about this issue when your characters speak. Donna's words will tumble over each other and she'll have a lot to say. Hank will choose each word carefully, and he'll be concise.
What are your characters' preferences? If you have a hero who's glued to his job, you could add him constantly taking calls on his cell phone even though he's supposed to be on vacation. Or if your heroine dislikes conversing, you could show this by her clipped speech along with her penchant for spending hours in her room, writing letters.
Happy Writing!
Friday, July 10, 2009
What Does Your Character Wear?
My current heroine exudes femininity. She wears pastel sundresses, cute--never ripped--shorts, t-shirts, and toe-baring sandals. Her long hair bounces, and she keeps her makeup light and tasteful.
Do you have an idea of her personality? Just by reading what she wears?
We instantly judge someone based on our visual impression of them. We take in the mohawk, piercings, and jet-black clothing and decide who the person is, or at least who we think the person is.
Clothes reflect our character's personalities. But we all know too much clothing description can bog the story down. So how do we use clothing in an effective way?
As with all physical details, whether the character's surroundings or clothes, it's a good idea to make them do double duty. I shouldn't only learn that the hero is wearing blue jeans, I should also learn what impression it makes on the viewpoint character.
Let's take an example.
Bad:
Sheila walked to Jake. He wore cargo shorts with a faded gray t-shirt.
Better:
Sheila walked to Jake. Leave it to him to wear cargo shorts and a faded gray t-shirt.
Both examples tell what Jake is wearing, but the second shows Sheila's reaction and gives insight into both their characters. Sheila isn't pleased--or maybe she's amused?--by his attire. And Jake obviously has worn the wrong thing, because he's clueless or doesn't care. Double duty! Plus, the reader takes an impression away too. His attire points to laid-back and rugged instead of formal and rigid.
Of course, I'd expand on the above to include the setting and why his outfit is inappropriate. And I'd show Jake's response to her reaction or lack thereof. Maybe Sheila doesn't mention his clothes, but he expects her to? Maybe she makes a snide remark to him? Maybe she's hidden an appropriate change of clothes behind her back because she knew he'd wear the wrong thing?
How do you use your character's clothing to reveal their personality? I'd love to hear from you!
Enjoy your weekend!
Do you have an idea of her personality? Just by reading what she wears?
We instantly judge someone based on our visual impression of them. We take in the mohawk, piercings, and jet-black clothing and decide who the person is, or at least who we think the person is.
Clothes reflect our character's personalities. But we all know too much clothing description can bog the story down. So how do we use clothing in an effective way?
As with all physical details, whether the character's surroundings or clothes, it's a good idea to make them do double duty. I shouldn't only learn that the hero is wearing blue jeans, I should also learn what impression it makes on the viewpoint character.
Let's take an example.
Bad:
Sheila walked to Jake. He wore cargo shorts with a faded gray t-shirt.
Better:
Sheila walked to Jake. Leave it to him to wear cargo shorts and a faded gray t-shirt.
Both examples tell what Jake is wearing, but the second shows Sheila's reaction and gives insight into both their characters. Sheila isn't pleased--or maybe she's amused?--by his attire. And Jake obviously has worn the wrong thing, because he's clueless or doesn't care. Double duty! Plus, the reader takes an impression away too. His attire points to laid-back and rugged instead of formal and rigid.
Of course, I'd expand on the above to include the setting and why his outfit is inappropriate. And I'd show Jake's response to her reaction or lack thereof. Maybe Sheila doesn't mention his clothes, but he expects her to? Maybe she makes a snide remark to him? Maybe she's hidden an appropriate change of clothes behind her back because she knew he'd wear the wrong thing?
How do you use your character's clothing to reveal their personality? I'd love to hear from you!
Enjoy your weekend!
Wednesday, July 8, 2009
Does Your Character Pick His Nose?
Warning: This post is gross. The subject? Awful. I'm so sorry to put you through this, but for some reason, I must.
How well do you know your characters? I mean, really know your characters. It's time to go to an ugly place and get dirty.
Does your main character pick his nose?
No? Well, has he ever picked his nose? When he was a child, did he dig up in there? Did he ever eat what came out? Did he get teased and decide right then and there he'd never pick it again?
Or is the answer yes? Is he discreet? Does he fling the contents? Wipe them, or (please tell me no) eat them? Does he ever unearth goodies from his nostrils in public?
Has anyone caught him recently? How would he feel if he looked over, mid-pick, and saw someone watching him? Would it bother him? Or would he shake it off with a laugh?
Hey, this stuff is important. If your character picks his nose in public, you know he's not only confident but doesn't care a fig for other's opinions. His co-workers avoid him and maybe grimace when he walks by. If he has a girlfriend, she's probably either completely grossed out and actively trying to change him, or she's just as obnoxious as he is.
If he's a sneaky picker, you can go full out on his reasons why. My goodness--the possibilities! Why does he feel the need to pick and why does he need to hide it?
On a similar note, do any of your characters adjust their undergarments? Scratch themselves? Sniff their armpits?
Will any of these actions show up in a book? Probably not. But knowing your character's dirty little habits provides insight into their character and motivation for their actions.
Join me on Friday when we'll talk about character's clothing.
Happy Writing!
How well do you know your characters? I mean, really know your characters. It's time to go to an ugly place and get dirty.
Does your main character pick his nose?
No? Well, has he ever picked his nose? When he was a child, did he dig up in there? Did he ever eat what came out? Did he get teased and decide right then and there he'd never pick it again?
Or is the answer yes? Is he discreet? Does he fling the contents? Wipe them, or (please tell me no) eat them? Does he ever unearth goodies from his nostrils in public?
Has anyone caught him recently? How would he feel if he looked over, mid-pick, and saw someone watching him? Would it bother him? Or would he shake it off with a laugh?
Hey, this stuff is important. If your character picks his nose in public, you know he's not only confident but doesn't care a fig for other's opinions. His co-workers avoid him and maybe grimace when he walks by. If he has a girlfriend, she's probably either completely grossed out and actively trying to change him, or she's just as obnoxious as he is.
If he's a sneaky picker, you can go full out on his reasons why. My goodness--the possibilities! Why does he feel the need to pick and why does he need to hide it?
On a similar note, do any of your characters adjust their undergarments? Scratch themselves? Sniff their armpits?
Will any of these actions show up in a book? Probably not. But knowing your character's dirty little habits provides insight into their character and motivation for their actions.
Join me on Friday when we'll talk about character's clothing.
Happy Writing!
Monday, July 6, 2009
Cat Person or Dog Person?
A fun question to ask your main character: are you a cat person or a dog person?
We all know the guy who loathes animals. He shifts away when a dog comes up to sniff him. He grimaces, mumbling something about wet-dog smell, before glaring at the unfortunate pet owner.
Then there are the people who love all animals. They might enjoy cats, dogs, rabbits, chickens, ponies, etc... They squeal in delight at every animal they see. They are the hand-clappers, the swooners, the must-pet-it-now people.
Everyone else boils down to cats and dogs. They favor one over the other without exception. And they have their own unique take on life.
Lets call our cat lover Muffy. Muffy visibly melts when a cat struts by. She oohs and ahhs at the adorable creature even as it snaps its haughty tail in the air. She adores cats, scoops them up and crushes them to her when they get too close. She also understands their independence and patiently gives them the space they need. Does it hurt her feelings when Fluffykins ignores her? Nope. If a dog walks by, she may pat it quickly, but she's not going to faint over it like she would a cat.
Then there's Chet. He automatically bends to ruffle a dog's fur whenever one trots up. He enjoys the companionship and loyalty of a dog. He'll play catch with the dog and he expects its devotion. Chet's never lonely because old Rover's always there, waiting to be petted. Cats don't rate in his book. He doesn't trust them. He may think one's cute, but he's never going to feel for it the way he feels for a dog.
How does this translate into character quirks? Anyway you want!
I like to pretend the characters' reactions to cats and dogs are similar to their reactions to the opposite sex. But you could study your character's gestures when reacting to an animal and use them in other situations.
Let's see how I would translate Muffy and Chet as a couple. She appreciates him , ladles him with praise and hugs, but doesn't expect him to spend every minute with her. He's very physical and affectionate, but Muffy questions this, not quite sure how to respond to such exuberance. She's used to giving affection but has a hard time being on the receiving end.
Chet likes relationships easy. He'll enjoy a dinner out with her, but he'll misunderstand Muffy's acceptance of his alone time and think she's not interested. He won't like that she's busy living her own life instead of waiting by the phone for him to call. And her hesitation to his affection will confuse him.
Any question you ask your character will provide insight into the way they act and why. When you're stuck, confused how they would react to a situation, apply the old cat or dog trick. It might not work every time, but it's fun!
Happy Writing!
We all know the guy who loathes animals. He shifts away when a dog comes up to sniff him. He grimaces, mumbling something about wet-dog smell, before glaring at the unfortunate pet owner.
Then there are the people who love all animals. They might enjoy cats, dogs, rabbits, chickens, ponies, etc... They squeal in delight at every animal they see. They are the hand-clappers, the swooners, the must-pet-it-now people.
Everyone else boils down to cats and dogs. They favor one over the other without exception. And they have their own unique take on life.
Lets call our cat lover Muffy. Muffy visibly melts when a cat struts by. She oohs and ahhs at the adorable creature even as it snaps its haughty tail in the air. She adores cats, scoops them up and crushes them to her when they get too close. She also understands their independence and patiently gives them the space they need. Does it hurt her feelings when Fluffykins ignores her? Nope. If a dog walks by, she may pat it quickly, but she's not going to faint over it like she would a cat.
Then there's Chet. He automatically bends to ruffle a dog's fur whenever one trots up. He enjoys the companionship and loyalty of a dog. He'll play catch with the dog and he expects its devotion. Chet's never lonely because old Rover's always there, waiting to be petted. Cats don't rate in his book. He doesn't trust them. He may think one's cute, but he's never going to feel for it the way he feels for a dog.
How does this translate into character quirks? Anyway you want!
I like to pretend the characters' reactions to cats and dogs are similar to their reactions to the opposite sex. But you could study your character's gestures when reacting to an animal and use them in other situations.
Let's see how I would translate Muffy and Chet as a couple. She appreciates him , ladles him with praise and hugs, but doesn't expect him to spend every minute with her. He's very physical and affectionate, but Muffy questions this, not quite sure how to respond to such exuberance. She's used to giving affection but has a hard time being on the receiving end.
Chet likes relationships easy. He'll enjoy a dinner out with her, but he'll misunderstand Muffy's acceptance of his alone time and think she's not interested. He won't like that she's busy living her own life instead of waiting by the phone for him to call. And her hesitation to his affection will confuse him.
Any question you ask your character will provide insight into the way they act and why. When you're stuck, confused how they would react to a situation, apply the old cat or dog trick. It might not work every time, but it's fun!
Happy Writing!
Friday, July 3, 2009
July: Character Quirks
Can you believe I almost dedicated July's posts to career research??
Thud. Heavy stuff. Too heavy for July! We'll save it for a later month, a serious month.
So what are we talking about instead? Character quirks. Don't yawn. It'll be fun and light and silly because it's summer--easy-breezy time!
We all have favorite parts of writing. Some love to describe details, others love to come up with a killer plot, or an original hook. But I'm guessing we all love developing our characters. I know I do.
My current manuscript features a hot-headed hero (aka: kind of jerky). How can I describe the joy I had in creating this character? Chocolate-fountain good. I rubbed my hands together in glee as he revealed his cluelessness. I laughed as the heroine put him in his place. My heart squeezed when he decided he wasn't worthy, and it rejoiced when he realized he wanted to be a man of integrity. I fell in love with him, even with all his faults. He became the man my heroine deserved.
One thing I wrestle with in my books is how to reveal less-than-likable traits in a character the reader needs to root for? I haven't always succeeded. It's tough to balance likable with needs-to-grow. I've learned a few things along the way and I'm hoping you can share your techniques and tips this month too.
So join me this month as we look at ways we can develop our characters and make them relatable and likable without sacrificing their faults.
Enjoy your weekend!
Thud. Heavy stuff. Too heavy for July! We'll save it for a later month, a serious month.
So what are we talking about instead? Character quirks. Don't yawn. It'll be fun and light and silly because it's summer--easy-breezy time!
We all have favorite parts of writing. Some love to describe details, others love to come up with a killer plot, or an original hook. But I'm guessing we all love developing our characters. I know I do.
My current manuscript features a hot-headed hero (aka: kind of jerky). How can I describe the joy I had in creating this character? Chocolate-fountain good. I rubbed my hands together in glee as he revealed his cluelessness. I laughed as the heroine put him in his place. My heart squeezed when he decided he wasn't worthy, and it rejoiced when he realized he wanted to be a man of integrity. I fell in love with him, even with all his faults. He became the man my heroine deserved.
One thing I wrestle with in my books is how to reveal less-than-likable traits in a character the reader needs to root for? I haven't always succeeded. It's tough to balance likable with needs-to-grow. I've learned a few things along the way and I'm hoping you can share your techniques and tips this month too.
So join me this month as we look at ways we can develop our characters and make them relatable and likable without sacrificing their faults.
Enjoy your weekend!
Wednesday, April 29, 2009
Pictures of Characters
Have you ever read a book then looked at the cover and grimaced because the characters look nothing like they were described?
Yeah, me too.
For this very reason, I resisted finding pictures of real people to base my characters on. After all, my characters are conjured in my imagination. No one could possibly live up to the images in my head!
A few books ago, though, I had a change of heart. I'd find myself having to look up the heroine's eye color. I couldn't remember if the hero had brown or black hair. I knew I had to change.
Now, I fill out my character sheets for a new book, and when I form a mental picture of the hero and heroine, I spend a few hours on the internet, searching for models/actresses/musicians who come close to the ideal. I thought it would be much harder than it is. I've been fortunate to find the perfect picture for each character. Once I find them, I print out one or two pictures and stab the pics into my corkboard. The hero and heroine will be right there in front of me the entire first draft.
By the way, my current book features the gorgeous Teresa Palmer and the not-too-shabby Eric Martsolf. It's really not difficult to gaze at these two all day long! (Curious? Check them out: Teresa Palmer and Eric Martsolf.)
What about you? Do you find pictures of your characters? Or does the idea turn you off? I'd love to hear from you.
Join me on Friday. We'll be talking about a fun Point of View trick I like to employ.
And...
Write Already! It's Wednesday!
Yeah, me too.
For this very reason, I resisted finding pictures of real people to base my characters on. After all, my characters are conjured in my imagination. No one could possibly live up to the images in my head!
A few books ago, though, I had a change of heart. I'd find myself having to look up the heroine's eye color. I couldn't remember if the hero had brown or black hair. I knew I had to change.
Now, I fill out my character sheets for a new book, and when I form a mental picture of the hero and heroine, I spend a few hours on the internet, searching for models/actresses/musicians who come close to the ideal. I thought it would be much harder than it is. I've been fortunate to find the perfect picture for each character. Once I find them, I print out one or two pictures and stab the pics into my corkboard. The hero and heroine will be right there in front of me the entire first draft.
By the way, my current book features the gorgeous Teresa Palmer and the not-too-shabby Eric Martsolf. It's really not difficult to gaze at these two all day long! (Curious? Check them out: Teresa Palmer and Eric Martsolf.)
What about you? Do you find pictures of your characters? Or does the idea turn you off? I'd love to hear from you.
Join me on Friday. We'll be talking about a fun Point of View trick I like to employ.
And...
Write Already! It's Wednesday!
Friday, April 3, 2009
Fear of Hurting Characters
We're going to kick off our hot April discussion on fear with my plea to you to inflict pain on your characters.
Hurt my babies?
Yes. If you don't, or can't, force your characters into their discomfort zone, your readers won't care about them. Think about every book you've loved over the years (excluding Dr. Seuss). Did the stories follow along on a happy trail from page one to the end? Not so much. I'll bet every book that's on your list of favorites was chock full of drama.
Even childhood books that have weathered time such as Laura Ingalls Wilder's Little House on the Prairie are brimming with problems. Strange land, all alone? Check. Missing beloved dog? Check. Surprise visit by Indians? Check. Sickness? You betcha!
Do the books you read now raise your pulse, make you nibble on your fingernails, have you gripping the pages? Pick one off of your bookshelf (or the pile on the floor) and skim through it. Look at how many trauma-inducing events pop up.
But it's hard to hurt the ones I love...
Yeah, I know, but readers need to identify with characters. When I read, I'm in effect, watching a drama unfold. I want to know how the lead will handle the obstacles thrown his way. I need to understand why the heroine can't love the hero. Books help me make sense of the world, and I don't need to make sense of the good stuff; I need help understanding the bad.
Join me next week as we continue our discussion on fear, only we'll be applying it to our fear of writing.
Enjoy your weekend!
Hurt my babies?
Yes. If you don't, or can't, force your characters into their discomfort zone, your readers won't care about them. Think about every book you've loved over the years (excluding Dr. Seuss). Did the stories follow along on a happy trail from page one to the end? Not so much. I'll bet every book that's on your list of favorites was chock full of drama.
Even childhood books that have weathered time such as Laura Ingalls Wilder's Little House on the Prairie are brimming with problems. Strange land, all alone? Check. Missing beloved dog? Check. Surprise visit by Indians? Check. Sickness? You betcha!
Do the books you read now raise your pulse, make you nibble on your fingernails, have you gripping the pages? Pick one off of your bookshelf (or the pile on the floor) and skim through it. Look at how many trauma-inducing events pop up.
But it's hard to hurt the ones I love...
Yeah, I know, but readers need to identify with characters. When I read, I'm in effect, watching a drama unfold. I want to know how the lead will handle the obstacles thrown his way. I need to understand why the heroine can't love the hero. Books help me make sense of the world, and I don't need to make sense of the good stuff; I need help understanding the bad.
Join me next week as we continue our discussion on fear, only we'll be applying it to our fear of writing.
Enjoy your weekend!
Wednesday, April 1, 2009
April Fool's Day!
How many times have you been fooled on April 1st over the years? For that matter, how many times have you forgotten it's even April Fool's Day? When I was in elementary school, April Fool's Day was right up there with Valentine's Day for good old fashioned fun. No, it wasn't anywhere near the level of Christmas or Easter, but it was still something to look forward to.
I don't pull pranks on April 1st anymore, for the main reason that I'm horrible at thinking up a joke and even worse at pulling one off. I don't mind if someone plays one on me, as long as it isn't mean-spirited. I cringe at the lengths certain television shows go to in order to embarrass someone. Is there anything more cruel than making someone feel guilty over something they haven't even done? Terrible!
Photo by lenore-m
But when I began saddling up my high horse, I realized that I am required to inflict pain as part of my profession. If my characters don't suffer, they're boring and unreadable. Who could read about someone's perfect life for long without gagging, throwing the book, or both? No. Pain draws us. We need to empathize with characters we read about. We share their pain, their joys, their triumphs.
I've cried many a time over fictional characters. If my favorite authors didn't, in essence, pull pranks on their characters, I wouldn't have felt the same deep emotions.
This month we're going to delve into another painful feeling: fear. So join me on Friday when we'll get the fun going!
And...
Write Already! It's Wednesday!
I don't pull pranks on April 1st anymore, for the main reason that I'm horrible at thinking up a joke and even worse at pulling one off. I don't mind if someone plays one on me, as long as it isn't mean-spirited. I cringe at the lengths certain television shows go to in order to embarrass someone. Is there anything more cruel than making someone feel guilty over something they haven't even done? Terrible!
Photo by lenore-m
But when I began saddling up my high horse, I realized that I am required to inflict pain as part of my profession. If my characters don't suffer, they're boring and unreadable. Who could read about someone's perfect life for long without gagging, throwing the book, or both? No. Pain draws us. We need to empathize with characters we read about. We share their pain, their joys, their triumphs.
I've cried many a time over fictional characters. If my favorite authors didn't, in essence, pull pranks on their characters, I wouldn't have felt the same deep emotions.
This month we're going to delve into another painful feeling: fear. So join me on Friday when we'll get the fun going!
And...
Write Already! It's Wednesday!
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