Archives
The White Room
March 28, 2021
"I'm in the room, it's a typical Tuesday night, I'm listening to the kind of music she doesn't like."
– Taylor Swift (You Belong With Me)
How often when I'm writing do I skip straight to the action I want or the dialogue I'm excited about and forget that these characters occupy an environment? I create a White Room Syndrome for my audience, who I have not taken the courtesy to invite into the space.
It's easy for some writers to get caught in the trappings, just as it is for others to get caught up in the sheer momentum of the story. For those like me who tend to rush headlong into the thick of things, it's important to pause and remember that, although this world has been jostling around in my head, the reader needs a peek behind this curtain too.
Tell them what your character sees, tell them what he feels, if she's cold outside at night, or if he thinks the wallpaper is gaudy. You don't have to tell them all at once. I walk into a new room and hardly tend to notice more than the essential things that stand out to me. I have never walked into a new house and instantly noticed or was later able to recall what the trim looked like. But I gather enough information about my environment to ensure my safety, to navigate it, or to entertain my mind if there's something unusual or interesting about the space. My readers need a peek, maybe even if it's just enough to navigate the space so they're not tripping over sheer disorientation every chapter.
It's when the reader can picture a world, hear a world, even feel a world, that they itch to come back to it again.
March 28, 2021
"I'm in the room, it's a typical Tuesday night, I'm listening to the kind of music she doesn't like."
– Taylor Swift (You Belong With Me)
How often when I'm writing do I skip straight to the action I want or the dialogue I'm excited about and forget that these characters occupy an environment? I create a White Room Syndrome for my audience, who I have not taken the courtesy to invite into the space.
It's easy for some writers to get caught in the trappings, just as it is for others to get caught up in the sheer momentum of the story. For those like me who tend to rush headlong into the thick of things, it's important to pause and remember that, although this world has been jostling around in my head, the reader needs a peek behind this curtain too.
Tell them what your character sees, tell them what he feels, if she's cold outside at night, or if he thinks the wallpaper is gaudy. You don't have to tell them all at once. I walk into a new room and hardly tend to notice more than the essential things that stand out to me. I have never walked into a new house and instantly noticed or was later able to recall what the trim looked like. But I gather enough information about my environment to ensure my safety, to navigate it, or to entertain my mind if there's something unusual or interesting about the space. My readers need a peek, maybe even if it's just enough to navigate the space so they're not tripping over sheer disorientation every chapter.
It's when the reader can picture a world, hear a world, even feel a world, that they itch to come back to it again.
The Atmospheric Plot
December 10, 2019
I've been reading a book recently that is by an author who is known for creating beautiful, atmospheric settings. She can weave quite the poetry of words and purple prose and setting to create a landscape for her story that is quite remarkable. I expected to really enjoy her latest book, but as the pages wore on, the novelty of the beautiful settings and the props of the story stopped satisfying as much. I grew bored with the book, and eventually put it down for a while, expecting to come back to it at another time. Since then, I haven't been motivated to pick it up to finish. With any book that disappoints me in some way, I ask myself, as a writer, why is that? What is so wrong with creating lush settings that people will enjoy?
I don't think there is anything wrong with it. But it's almost like making a beautiful dollhouse, placing porcelain dolls inside, posing them around the furniture, then leaving it. We stare at the dollhouse, admiring its beauty, but after a while there's nothing to do. We get bored and walk away.
Good settings have to come as a package deal with a good plot. Without each other, they lack something vital. If you have a great plot, but nowhere interesting to go, that's a bummer. On the flip side, if you have a beautiful place, but nothing to do, that's troublesome too. When starting a story, before planning the details of world-building and the way the people cook their food or braid their hair, ask:
Who is the character? What does he want? What is preventing him from getting there?
What does he really need? What is the best way to show this journey/evolution?
From that launching pad, you have a start to a story. World building more or less fills in all the cracks until the story you've created is something solid and believable that the reader can get lost inside. But most importantly, we don't just want to get lost. We want a destination at the end of the tunnel. More often than not, we want to know where the character is going, or at least what he wants. Then we can want it with him. And when he finds the end of the story, we'll be right there with him.
December 10, 2019
I've been reading a book recently that is by an author who is known for creating beautiful, atmospheric settings. She can weave quite the poetry of words and purple prose and setting to create a landscape for her story that is quite remarkable. I expected to really enjoy her latest book, but as the pages wore on, the novelty of the beautiful settings and the props of the story stopped satisfying as much. I grew bored with the book, and eventually put it down for a while, expecting to come back to it at another time. Since then, I haven't been motivated to pick it up to finish. With any book that disappoints me in some way, I ask myself, as a writer, why is that? What is so wrong with creating lush settings that people will enjoy?
I don't think there is anything wrong with it. But it's almost like making a beautiful dollhouse, placing porcelain dolls inside, posing them around the furniture, then leaving it. We stare at the dollhouse, admiring its beauty, but after a while there's nothing to do. We get bored and walk away.
Good settings have to come as a package deal with a good plot. Without each other, they lack something vital. If you have a great plot, but nowhere interesting to go, that's a bummer. On the flip side, if you have a beautiful place, but nothing to do, that's troublesome too. When starting a story, before planning the details of world-building and the way the people cook their food or braid their hair, ask:
Who is the character? What does he want? What is preventing him from getting there?
What does he really need? What is the best way to show this journey/evolution?
From that launching pad, you have a start to a story. World building more or less fills in all the cracks until the story you've created is something solid and believable that the reader can get lost inside. But most importantly, we don't just want to get lost. We want a destination at the end of the tunnel. More often than not, we want to know where the character is going, or at least what he wants. Then we can want it with him. And when he finds the end of the story, we'll be right there with him.
Set Pieces
October 2, 2019
Let's talk about setting up character roles, specifically within the context of improper use of women in modern books and film. Yes, we're going there. Each character in your cast should have a reason for being there. They should be part of the plot, part of the MC's journey, serving a necessary function for the story. An unacceptable role for a female character in your story is as eye-candy. You know, like those girls that show up in Bond movies long enough for Bond to get intimate with them before they are killed in a few scenes. This is harmful stereotype that needs to be removed from modern storytelling as it both reinforces that the hero should be able to have any woman he wants, without even asking most of the time, and that these women cannot be central, plot-relevant characters. This happens in books as well as movies. I am not suggesting that every book should have a female MC or that men are never similarly sidelined in this way as set pieces. I am saying that every character should have a purpose for being in your story. If you cannot determine why they are there apart from blessing us with their beauty, either consider giving them an actual role or leaving them out. Remember to respect everyone with the way we represent characters in storytelling.
October 2, 2019
Let's talk about setting up character roles, specifically within the context of improper use of women in modern books and film. Yes, we're going there. Each character in your cast should have a reason for being there. They should be part of the plot, part of the MC's journey, serving a necessary function for the story. An unacceptable role for a female character in your story is as eye-candy. You know, like those girls that show up in Bond movies long enough for Bond to get intimate with them before they are killed in a few scenes. This is harmful stereotype that needs to be removed from modern storytelling as it both reinforces that the hero should be able to have any woman he wants, without even asking most of the time, and that these women cannot be central, plot-relevant characters. This happens in books as well as movies. I am not suggesting that every book should have a female MC or that men are never similarly sidelined in this way as set pieces. I am saying that every character should have a purpose for being in your story. If you cannot determine why they are there apart from blessing us with their beauty, either consider giving them an actual role or leaving them out. Remember to respect everyone with the way we represent characters in storytelling.
Keys to Writing Intriguing Villains
May 15, 2019
You write good villains the same way you write good heroes. They have to have many of the same ingredients. Heroes require a goal and a motive, and so do villains. It starts with asking some key questions. What does your villain want? Why does he want that? Does he have a set of moral boundaries he won’t cross or will he stop at nothing? Often times, the villains that are the most effective are also the most relatable. Many villains are written like some kind of alien species that was born in a secret lair wrapped in a black cape, but the most important thing about our villains is that they are human too. I saw an interesting discussion recently that was prompted by a picture of Adolf Hitler walking hand in hand with a little girl, a family member of his. People seemed to think the photograph was frightening. But why was it frightening? It is likely because we tend to label our villains as monsters because only monsters could be capable of such evil extremes. It is when we realize that they are not monsters, but people, that they become frightening. For most of our purposes, the villains in our stories will be human beings. So how can you humanize your story’s villain? You can give him:
A person he will protect at all costs
A favorite food
A fear or phobia
Insecurities or anxieties
A beloved pet
Sentimental objects he can’t part with
Best friends or loyal subjects
Specific coping mechanisms
Another important consideration that will make your story more cohesive and effective is your central conflict. What the hero wants and what the villain wants should directly be at odds. There should be a good reason that the two are in conflict. For example, Wade Watts from Ready Player One wanted the video game world, the “Oasis”, to remain available to the world as an escape and a source of hope to those who needed it. In opposition, Nolan Sorrento, the CEO of IOI, wanted to his corporation to control the Oasis and monetize it for his purposes. What each character wants the most is in direct opposition to the other. This drives the plot forward and gives more weight to the villain’s decisions. Additionally, consider why your villain wants what he wants. If he wants to destroy the world, why? There is a lot at stake if he decides to declare war against the whole world. What motivates him enough to want to do that? If you can, make his decisions personal. One of the best things you can do is write a villain that your readers may not agree with, but sympathize with all the same.
May 15, 2019
You write good villains the same way you write good heroes. They have to have many of the same ingredients. Heroes require a goal and a motive, and so do villains. It starts with asking some key questions. What does your villain want? Why does he want that? Does he have a set of moral boundaries he won’t cross or will he stop at nothing? Often times, the villains that are the most effective are also the most relatable. Many villains are written like some kind of alien species that was born in a secret lair wrapped in a black cape, but the most important thing about our villains is that they are human too. I saw an interesting discussion recently that was prompted by a picture of Adolf Hitler walking hand in hand with a little girl, a family member of his. People seemed to think the photograph was frightening. But why was it frightening? It is likely because we tend to label our villains as monsters because only monsters could be capable of such evil extremes. It is when we realize that they are not monsters, but people, that they become frightening. For most of our purposes, the villains in our stories will be human beings. So how can you humanize your story’s villain? You can give him:
A person he will protect at all costs
A favorite food
A fear or phobia
Insecurities or anxieties
A beloved pet
Sentimental objects he can’t part with
Best friends or loyal subjects
Specific coping mechanisms
Another important consideration that will make your story more cohesive and effective is your central conflict. What the hero wants and what the villain wants should directly be at odds. There should be a good reason that the two are in conflict. For example, Wade Watts from Ready Player One wanted the video game world, the “Oasis”, to remain available to the world as an escape and a source of hope to those who needed it. In opposition, Nolan Sorrento, the CEO of IOI, wanted to his corporation to control the Oasis and monetize it for his purposes. What each character wants the most is in direct opposition to the other. This drives the plot forward and gives more weight to the villain’s decisions. Additionally, consider why your villain wants what he wants. If he wants to destroy the world, why? There is a lot at stake if he decides to declare war against the whole world. What motivates him enough to want to do that? If you can, make his decisions personal. One of the best things you can do is write a villain that your readers may not agree with, but sympathize with all the same.
The Moment of Truth
May 10, 2018
Many books-in-progress start to sag in the middle. Writers find it difficult to find the motivation to carry on and nothing seems to be happening toward the middle of the story. Why is that? What is supposed to be going on in the middle?
Well, the midpoint of the story should actually pack a powerful punch in the main character's arc. They may have been fighting back the antagonistic force for the first half of the book and trying their best, but the lead normally starts out a story with an incomplete picture of themself or the world. They believe a lie, aren't ready to face the truth, or haven't accepted who they are yet. Throughout their journey, the character has to be inching closer and closer to facing the music, finally coming to their "moment of truth".
This should be the pivot point of the entire story. The tone should completely shift after the main character comes to a place where they face the truth. Their outlook, their plan, maybe even their purpose has been modified. They should face down the rest of the book with a new kind of determination. Remy from Disney's Ratatouille had this moment when his facade came apart and he had to come to the realization that he would not be accepted into the human world, but could still do what he loved.
Whatever revelation your main character needs to come to within his or her character arc, make sure it falls right around the midpoint and then the pace will not have to drag. This important piece of story structure should keep the story moving and should keep readers from putting it down.
May 10, 2018
Many books-in-progress start to sag in the middle. Writers find it difficult to find the motivation to carry on and nothing seems to be happening toward the middle of the story. Why is that? What is supposed to be going on in the middle?
Well, the midpoint of the story should actually pack a powerful punch in the main character's arc. They may have been fighting back the antagonistic force for the first half of the book and trying their best, but the lead normally starts out a story with an incomplete picture of themself or the world. They believe a lie, aren't ready to face the truth, or haven't accepted who they are yet. Throughout their journey, the character has to be inching closer and closer to facing the music, finally coming to their "moment of truth".
This should be the pivot point of the entire story. The tone should completely shift after the main character comes to a place where they face the truth. Their outlook, their plan, maybe even their purpose has been modified. They should face down the rest of the book with a new kind of determination. Remy from Disney's Ratatouille had this moment when his facade came apart and he had to come to the realization that he would not be accepted into the human world, but could still do what he loved.
Whatever revelation your main character needs to come to within his or her character arc, make sure it falls right around the midpoint and then the pace will not have to drag. This important piece of story structure should keep the story moving and should keep readers from putting it down.
Dissecting Disappointing Reads
April 1, 2018
I have read some disappointing books recently. I guess that's pretty obvious from the title. Unfortunately, this happens. The premise looks nice, and the cover is appealing, and the plot genuinely seems like something that will be enjoyable. Then...it's just not. It's either boring, or rushed, or too slow, or confusing. I could just be upset about wasting that time I spent reading the book, but I'd rather learn something about writing. What went wrong that made these books disappointing? What was the root problem?
Too slow/rushed?
The Root Problem: Outlining and pacing. If a book feels like it's just dragging along, then in two or three chapters at the end starts to hastily wrap everything up and tie off loose ends, then the author clearly hasn't stopped to think about hitting each plot point at the correct time. Many writers do not like to intensively outline. I don't outline intensively. But I certainly sit down and think about my plot and how each point will affect the pacing. Is there a hook at the beginning? A midpoint? A moment of truth? A low point, climax, and conclusion? The everyday reader many not understand what all of these terms mean, but he or she will definitely notice when one of them is missing or out of place in the storyline.
Confusing?
The Root Problem: world-building. One of the disappointing books I read was rather confusing because the unique aspects of the world were not explained well. The world contained many different countries, each with names like Lithulrshwst and Devlorthikkan. I was thrust into an unusual world with no information to ground me, and needless to say, from the onset I was completely bewildered. Even if your book is set in a well-known location like London or Beijing, orienting readers to their setting is crucial for the rest of the story. But especially if the story takes place in a land we know nothing about, or if you've tweaked London to a post-apocalyptic version, sprinkle some useful information around your opening chapters to introduce us properly to your setting. What are the common people like? Nobility? What kind of houses do they live in? How's the weather? Agriculture? Commerce? Do they encourage music and the arts, sacrifice children to volcanoes, speak multiple languages, dye their hair blue? I don't know. Readers just need a little guidance when it comes to new places.
April 1, 2018
I have read some disappointing books recently. I guess that's pretty obvious from the title. Unfortunately, this happens. The premise looks nice, and the cover is appealing, and the plot genuinely seems like something that will be enjoyable. Then...it's just not. It's either boring, or rushed, or too slow, or confusing. I could just be upset about wasting that time I spent reading the book, but I'd rather learn something about writing. What went wrong that made these books disappointing? What was the root problem?
Too slow/rushed?
The Root Problem: Outlining and pacing. If a book feels like it's just dragging along, then in two or three chapters at the end starts to hastily wrap everything up and tie off loose ends, then the author clearly hasn't stopped to think about hitting each plot point at the correct time. Many writers do not like to intensively outline. I don't outline intensively. But I certainly sit down and think about my plot and how each point will affect the pacing. Is there a hook at the beginning? A midpoint? A moment of truth? A low point, climax, and conclusion? The everyday reader many not understand what all of these terms mean, but he or she will definitely notice when one of them is missing or out of place in the storyline.
Confusing?
The Root Problem: world-building. One of the disappointing books I read was rather confusing because the unique aspects of the world were not explained well. The world contained many different countries, each with names like Lithulrshwst and Devlorthikkan. I was thrust into an unusual world with no information to ground me, and needless to say, from the onset I was completely bewildered. Even if your book is set in a well-known location like London or Beijing, orienting readers to their setting is crucial for the rest of the story. But especially if the story takes place in a land we know nothing about, or if you've tweaked London to a post-apocalyptic version, sprinkle some useful information around your opening chapters to introduce us properly to your setting. What are the common people like? Nobility? What kind of houses do they live in? How's the weather? Agriculture? Commerce? Do they encourage music and the arts, sacrifice children to volcanoes, speak multiple languages, dye their hair blue? I don't know. Readers just need a little guidance when it comes to new places.
The Character’s Survival January 17, 2018
Handbook to Cliché Mistakes
Leave No One Behind
If you’re a captive/slave, and especially one of many, in your book, please follow this simple advice. Don’t leave anyone behind. Please. In too many books, some characters escape, some stay behind for various reasons, and in too many cases the one(s) left behind are:
1. Responsible for helping and/or orchestrating any plots.
2. Have a connection to someone who has escaped that can be traced.
3. Are really convenient to blame or punish.
If you escape from anywhere and know that there are people that you know and care about left behind – please consider their safety before you barrel off to freedom. Just give it some thought.
In The Case of Death
You’ve received a terrible prognosis. Your chances of survival from this illness are little to nonexistent. Please avoid pushing away everyone you love. You think you’re making the separation easier for both of you. You’re making it harder for both of you because:
1. They will not be with you to encourage you and fill your life and bring you joy in as many ways as they can. (Helping you helps them. I promise.)
2. They will be disappointed when they find out that you lied to them and said that everything was fine until it really really wasn’t.
BONUS: Do not try to set up the love of your life with someone else before you’re even gone. Just. Don’t.
Dual Sacrifice
I know you love him/her, but both of you going off with some half-baked, poorly conceived plan to sacrifice yourself for the other will just get both of you killed and/or captured. Think it through. Would your true love really want you to come running to heroically save them when there’s really no chance that it’s actually going to happen that way? Instead, consider waiting just long enough to get your head on straight, maybe gather some friends or a larger rescue party, and have a decent plan before sacrificing yourself to the same people who have your other half and will likely use you or him/her against the other for leverage (or fun).
Handbook to Cliché Mistakes
Leave No One Behind
If you’re a captive/slave, and especially one of many, in your book, please follow this simple advice. Don’t leave anyone behind. Please. In too many books, some characters escape, some stay behind for various reasons, and in too many cases the one(s) left behind are:
1. Responsible for helping and/or orchestrating any plots.
2. Have a connection to someone who has escaped that can be traced.
3. Are really convenient to blame or punish.
If you escape from anywhere and know that there are people that you know and care about left behind – please consider their safety before you barrel off to freedom. Just give it some thought.
In The Case of Death
You’ve received a terrible prognosis. Your chances of survival from this illness are little to nonexistent. Please avoid pushing away everyone you love. You think you’re making the separation easier for both of you. You’re making it harder for both of you because:
1. They will not be with you to encourage you and fill your life and bring you joy in as many ways as they can. (Helping you helps them. I promise.)
2. They will be disappointed when they find out that you lied to them and said that everything was fine until it really really wasn’t.
BONUS: Do not try to set up the love of your life with someone else before you’re even gone. Just. Don’t.
Dual Sacrifice
I know you love him/her, but both of you going off with some half-baked, poorly conceived plan to sacrifice yourself for the other will just get both of you killed and/or captured. Think it through. Would your true love really want you to come running to heroically save them when there’s really no chance that it’s actually going to happen that way? Instead, consider waiting just long enough to get your head on straight, maybe gather some friends or a larger rescue party, and have a decent plan before sacrificing yourself to the same people who have your other half and will likely use you or him/her against the other for leverage (or fun).
Sequels and Familiarity
December 4, 2017
Sequels offer a unique perspective on your characters – and a unique opportunity. In the first book, you have to tell readers everything about your characters. They are meeting the character for the first time. They want to know if they are introverted or extroverted, if they have a strong personality, or if they like eating pizza at 2am. There is a lot of groundwork to place, and that takes time. You also have to convince your readers that they should care about the MC and their troubles.
The sequel doesn't have a lot of those particular challenges, especially if you keep many of the main characters into the next book. Part of the excitement of a sequel for any reader is imagining new interactions and situations into which the characters they know and love will fall. Once you know the characters, you can imagine how they'd react in all kinds of situations.
The important thing about the sequel is that you can skip the long description list that orients your reader to the characters and get right into the heart of the story. You already have the characters established, so now you can ask yourself:
What would happen if those two characters met?
What might happen if this character's worst fear came true?
How might this character react when placed in this situation?
How will the group respond to this particular change?
If you can start to answer these questions, while staying true to your characters, then you will be well on your way to getting the ball rolling with your sequel.
December 4, 2017
Sequels offer a unique perspective on your characters – and a unique opportunity. In the first book, you have to tell readers everything about your characters. They are meeting the character for the first time. They want to know if they are introverted or extroverted, if they have a strong personality, or if they like eating pizza at 2am. There is a lot of groundwork to place, and that takes time. You also have to convince your readers that they should care about the MC and their troubles.
The sequel doesn't have a lot of those particular challenges, especially if you keep many of the main characters into the next book. Part of the excitement of a sequel for any reader is imagining new interactions and situations into which the characters they know and love will fall. Once you know the characters, you can imagine how they'd react in all kinds of situations.
The important thing about the sequel is that you can skip the long description list that orients your reader to the characters and get right into the heart of the story. You already have the characters established, so now you can ask yourself:
What would happen if those two characters met?
What might happen if this character's worst fear came true?
How might this character react when placed in this situation?
How will the group respond to this particular change?
If you can start to answer these questions, while staying true to your characters, then you will be well on your way to getting the ball rolling with your sequel.
The Morality of Training Scenes
October 24, 2017
This is by no means a "do or die" piece of advice for storytelling. Authors are all over the map with this one, but the idea needs to be considered for trainer/trainee relationships in stories.
I have always felt some unease reading a few books with regards to the way training scenes are handled. If we are working off the basis that training a character to be a better fighter, or to control a certain power, is for the purpose of making that character a better person and a stronger one, then a few things must be considered:
1. Where do you draw the line on "tough love"?
Just about every fictional master/trainer you've met is wise and powerful, but pretty harsh when it comes to discipline. Please consider boundaries in this area. Especially with that gray area of male trainer and female trainee, establish how far is too far when it comes to no-nonsense training styles. I have set aside books permanently because of such settings that crossed into the realm of physical or emotional abuse. Do not overlook that all forms of abuse, even depicted for the purpose of training, should not be depicted in a positive light.
2. Establish the purpose and never stray
Training a character does not have to be for their good. It really doesn't. It could be forced upon a character for someone else's benefit, or for various other reasons. But unless that is spelled out in the narrative, generally speaking, training sessions are usually to help the character be a better person. If an aspect of a trainer's teaching negatively affects their pupil's physical/mental health or their overall well-being, then something is wrong.
3. Dare to question
Your character does not have to share all the morals/worldviews of their trainer. Sometimes, it is good to have a character stand up and question the methods or purpose of a trainer's agenda. In Batman Begins, Bruce accepts the teaching and wisdom from his mentor Raz until it directly opposes his own beliefs and values – in that instance how he values life. Letting a character question their mentor can help propel your plot forward and help teach important lessons.
October 24, 2017
This is by no means a "do or die" piece of advice for storytelling. Authors are all over the map with this one, but the idea needs to be considered for trainer/trainee relationships in stories.
I have always felt some unease reading a few books with regards to the way training scenes are handled. If we are working off the basis that training a character to be a better fighter, or to control a certain power, is for the purpose of making that character a better person and a stronger one, then a few things must be considered:
1. Where do you draw the line on "tough love"?
Just about every fictional master/trainer you've met is wise and powerful, but pretty harsh when it comes to discipline. Please consider boundaries in this area. Especially with that gray area of male trainer and female trainee, establish how far is too far when it comes to no-nonsense training styles. I have set aside books permanently because of such settings that crossed into the realm of physical or emotional abuse. Do not overlook that all forms of abuse, even depicted for the purpose of training, should not be depicted in a positive light.
2. Establish the purpose and never stray
Training a character does not have to be for their good. It really doesn't. It could be forced upon a character for someone else's benefit, or for various other reasons. But unless that is spelled out in the narrative, generally speaking, training sessions are usually to help the character be a better person. If an aspect of a trainer's teaching negatively affects their pupil's physical/mental health or their overall well-being, then something is wrong.
3. Dare to question
Your character does not have to share all the morals/worldviews of their trainer. Sometimes, it is good to have a character stand up and question the methods or purpose of a trainer's agenda. In Batman Begins, Bruce accepts the teaching and wisdom from his mentor Raz until it directly opposes his own beliefs and values – in that instance how he values life. Letting a character question their mentor can help propel your plot forward and help teach important lessons.
Elements of Music and Prose
August 16, 2017
Two of the most fundamental elements of musical form and structure are repetition and contrast. Repetition charts the course of the song and establishes a melody. The listener gets familiar with the melody and learns to not only recognize it but enjoy it. Contrast is what makes the piece interesting, though. Composers love contrast. They love that suspension that leaves you on the edge of your seat waiting for it to resolve. They love throwing in strange chords that make you go, “Wait–what?” But contrast is what makes a piece worth listening to. I’m sure everyone has heard a song at some time that was so repetitive that there was no point in listening anymore. It feels like nothing is going to happen. An important concept for movie scores is the theme(s). Sometimes certain characters have their own theme, or a certain pace of action or set piece. But the theme grounds the entire story, gets you to understand a character and recognize when he comes along, or makes you ache with emotion when the theme that embodies an entire franchise begins to play.
All of these concepts can apply to plot structure as well. Imagine a story that does not begin with an introduction to the main character, an introduction into his everyday life, or even a hint of what universe he lives in. Disorienting much? The appearance of repetition is important in the beginning. It makes you understand the character’s normal world, their patterns. It is even important to understand the regular flow of life on whatever planet they live.
Now imagine a world where the character has fixed guidelines the entire story. They go to work. They come home. They eat dinner. So forth. Nothing ever changes and the beat of the story plods endlessly forward and yet nowhere. The plot has to awaken with some form of contrast. Something new and different enters the character’s world. Maybe he gets a once-in-a-lifetime trip to Paris. Maybe he is kidnapped and taken to a hidden base. Something has to change amid the repetition for the story to move somewhere. The move from “normal world” to “adventure world” is the launch pad for the plot, but elements of contrast don’t stop there. The reader should be constantly taken for loops and turns throughout the rest of the story, because who truly wants a book where they can predict every single outcome? I’ll pass.
Lastly, theme is such an important thing. So important. If your story doesn’t have a heart, how can it be alive? The theme grounds the entire story, whispers its timeless truth into the mind of the reader. Without themes, a movie’s soundtrack is just background noise. It can be cool background noise, but it remains noise nonetheless. The theme is the anchor. It sets the tone and style of the story. It is crucial. It can be subtle. It is not a in-your-face Aesop’s fable or parable. Your book’s theme should take one-hundred-thousand words and make them into one.
August 16, 2017
Two of the most fundamental elements of musical form and structure are repetition and contrast. Repetition charts the course of the song and establishes a melody. The listener gets familiar with the melody and learns to not only recognize it but enjoy it. Contrast is what makes the piece interesting, though. Composers love contrast. They love that suspension that leaves you on the edge of your seat waiting for it to resolve. They love throwing in strange chords that make you go, “Wait–what?” But contrast is what makes a piece worth listening to. I’m sure everyone has heard a song at some time that was so repetitive that there was no point in listening anymore. It feels like nothing is going to happen. An important concept for movie scores is the theme(s). Sometimes certain characters have their own theme, or a certain pace of action or set piece. But the theme grounds the entire story, gets you to understand a character and recognize when he comes along, or makes you ache with emotion when the theme that embodies an entire franchise begins to play.
All of these concepts can apply to plot structure as well. Imagine a story that does not begin with an introduction to the main character, an introduction into his everyday life, or even a hint of what universe he lives in. Disorienting much? The appearance of repetition is important in the beginning. It makes you understand the character’s normal world, their patterns. It is even important to understand the regular flow of life on whatever planet they live.
Now imagine a world where the character has fixed guidelines the entire story. They go to work. They come home. They eat dinner. So forth. Nothing ever changes and the beat of the story plods endlessly forward and yet nowhere. The plot has to awaken with some form of contrast. Something new and different enters the character’s world. Maybe he gets a once-in-a-lifetime trip to Paris. Maybe he is kidnapped and taken to a hidden base. Something has to change amid the repetition for the story to move somewhere. The move from “normal world” to “adventure world” is the launch pad for the plot, but elements of contrast don’t stop there. The reader should be constantly taken for loops and turns throughout the rest of the story, because who truly wants a book where they can predict every single outcome? I’ll pass.
Lastly, theme is such an important thing. So important. If your story doesn’t have a heart, how can it be alive? The theme grounds the entire story, whispers its timeless truth into the mind of the reader. Without themes, a movie’s soundtrack is just background noise. It can be cool background noise, but it remains noise nonetheless. The theme is the anchor. It sets the tone and style of the story. It is crucial. It can be subtle. It is not a in-your-face Aesop’s fable or parable. Your book’s theme should take one-hundred-thousand words and make them into one.
Has Nothing Really Changed? January 16, 2017
In a time where feminist ideas are being promoted more strongly than ever, it seems on first glance that modern stories have evolved with us and have given us a new, stronger, more capable female lead. She is smart, good with a gun, and doesn't sit back in her long dresses and watch the men do all the fighting. But take a closer look. Has her role within the story really changed at all?
A new Tarzan came out this last year, armed to address many heavy topics within its script. But, most noticeably, Jane seems like a much more capable co-star this time around. Dig deeper into the story, though, and you discover the truth right away. Jane plays the part of the damsel in distress, captured by the villain to lure Tarzan to his death. The fact that she herself makes a comment about being "a damsel" really does nothing to change that fact. The movie gives her some very fine qualities, and a moment of her own to save a friend and make an attempt at an escape. But, she is quickly recaptured, and does little to move the plot after that point.
For the entire final act, Jane watches the action from the sidelines. Even during the climax, where Tarzan faces his enemy for the last time, Jane is not helping. She is, in fact, standing on the dock fretting for a very long time. Why isn't she in the climax? Well, she had never been an impact character. She does little to keep the plot moving forward before the climax, and she has no part during it.
So, has anything really changed? Has the role of the female character shifted from the sideline to the court? In many stories, she has. And she does. But, the most important thing to remember is that a woman is not an important character because she is strong, can throw knives, or even has the nerve to spit in the villain's face. She is important if she affects the plot and impacts the central conflict. It does not matter if she is a seamstress, stock-broker, waitress, or teller. Does she move the plot? That is the question we should be asking.
In a time where feminist ideas are being promoted more strongly than ever, it seems on first glance that modern stories have evolved with us and have given us a new, stronger, more capable female lead. She is smart, good with a gun, and doesn't sit back in her long dresses and watch the men do all the fighting. But take a closer look. Has her role within the story really changed at all?
A new Tarzan came out this last year, armed to address many heavy topics within its script. But, most noticeably, Jane seems like a much more capable co-star this time around. Dig deeper into the story, though, and you discover the truth right away. Jane plays the part of the damsel in distress, captured by the villain to lure Tarzan to his death. The fact that she herself makes a comment about being "a damsel" really does nothing to change that fact. The movie gives her some very fine qualities, and a moment of her own to save a friend and make an attempt at an escape. But, she is quickly recaptured, and does little to move the plot after that point.
For the entire final act, Jane watches the action from the sidelines. Even during the climax, where Tarzan faces his enemy for the last time, Jane is not helping. She is, in fact, standing on the dock fretting for a very long time. Why isn't she in the climax? Well, she had never been an impact character. She does little to keep the plot moving forward before the climax, and she has no part during it.
So, has anything really changed? Has the role of the female character shifted from the sideline to the court? In many stories, she has. And she does. But, the most important thing to remember is that a woman is not an important character because she is strong, can throw knives, or even has the nerve to spit in the villain's face. She is important if she affects the plot and impacts the central conflict. It does not matter if she is a seamstress, stock-broker, waitress, or teller. Does she move the plot? That is the question we should be asking.
Villain Victory October 24, 2016
I have recently been thinking about two movies that had a similar moment of disappointment for me in them. Please don't think I'm saying that I hated these movies. Both are good movies. They just had a similar flaw that grated on me from the moment I reached the credits. I never really understood why the endings to both these movies bothered me so much until I peeled back the layers and found a core problem rooted in the central conflict of the story.
The Hobbit's exciting (and long) finale, The Battle of the Five Armies, delivered on many emotional levels. But even though the villain, Azog, was killed at the end, I still felt in my gut that he had won. Why? I mean, the main character, Bilbo Baggins survives to see the events of the Lord of the Rings saga. But Azog won regardless because he achieved his end goal. His entire mission of the trilogy was to end the bloodline of the dwarf kings, and he did it. He kills all three of them.
The 2012 Bond movie Skyfall, also had a similar situation. The villain of this movie has a personal vendetta to destroy M, who he blames for his capture and imprisonment. After the Climax, where Bond, of course, survives, M actually dies in the end. Once again, even though the villain is killed, I feel like the whole purpose was to "save M", and that mission failed. I was disappointed after watching this movie. I felt like the villain came away with his victory. Bond lives, of course, so why did I come away with that impression?
The answer that I eventually discovered boils down to central conflict. All stories seem to function better when the hero and the villain are at odds, when their goals clash and sparks fly. Don't get me wrong, the protagonists in both these movies interact in some form or fashion with the antagonistic force, but they are not directly at odds. In both cases, the villain was directly opposed to a completely different character, instead of the main character. Azog was Thorin's enemy, not Bilbo's. Silva was M's enemy, not Bond's. After watching both of these movies and getting the feeling that something was off, something was wrong, it became clear that this type of structure is detrimental to the impact of stories. Of course, there are plenty of other books and movies out there, when you stop and think about it, that have this exact same problem. It is just magnified and obvious that the hero and villain are not in direct opposition with one another when the character in the villain's sights dies. I am left with the impression that the villain actually won. There is nothing inherently wrong with creating an ending where the villain actually does win, if that is the story's intention. Many horror movies have intentionally "sad" endings. That is not really the problem. But if you sense the limelight of your story shifting from the main character, it might be time to analyze your central conflict for a "Villain Victory."
I have recently been thinking about two movies that had a similar moment of disappointment for me in them. Please don't think I'm saying that I hated these movies. Both are good movies. They just had a similar flaw that grated on me from the moment I reached the credits. I never really understood why the endings to both these movies bothered me so much until I peeled back the layers and found a core problem rooted in the central conflict of the story.
The Hobbit's exciting (and long) finale, The Battle of the Five Armies, delivered on many emotional levels. But even though the villain, Azog, was killed at the end, I still felt in my gut that he had won. Why? I mean, the main character, Bilbo Baggins survives to see the events of the Lord of the Rings saga. But Azog won regardless because he achieved his end goal. His entire mission of the trilogy was to end the bloodline of the dwarf kings, and he did it. He kills all three of them.
The 2012 Bond movie Skyfall, also had a similar situation. The villain of this movie has a personal vendetta to destroy M, who he blames for his capture and imprisonment. After the Climax, where Bond, of course, survives, M actually dies in the end. Once again, even though the villain is killed, I feel like the whole purpose was to "save M", and that mission failed. I was disappointed after watching this movie. I felt like the villain came away with his victory. Bond lives, of course, so why did I come away with that impression?
The answer that I eventually discovered boils down to central conflict. All stories seem to function better when the hero and the villain are at odds, when their goals clash and sparks fly. Don't get me wrong, the protagonists in both these movies interact in some form or fashion with the antagonistic force, but they are not directly at odds. In both cases, the villain was directly opposed to a completely different character, instead of the main character. Azog was Thorin's enemy, not Bilbo's. Silva was M's enemy, not Bond's. After watching both of these movies and getting the feeling that something was off, something was wrong, it became clear that this type of structure is detrimental to the impact of stories. Of course, there are plenty of other books and movies out there, when you stop and think about it, that have this exact same problem. It is just magnified and obvious that the hero and villain are not in direct opposition with one another when the character in the villain's sights dies. I am left with the impression that the villain actually won. There is nothing inherently wrong with creating an ending where the villain actually does win, if that is the story's intention. Many horror movies have intentionally "sad" endings. That is not really the problem. But if you sense the limelight of your story shifting from the main character, it might be time to analyze your central conflict for a "Villain Victory."
184 Emotion Adjectives
September 15, 2016
I am proud to present the results of my long-time project, the Emotion Adjectives. This is a list of 184 emotion and feeling words. I came up with the first 138 on my own, then started to check back with dictionaries, friends, and other lists to complete mine. There are still more of these adjectives out there that I didn't add! I'm sure there are plenty more. But this is a pretty comprehensive list for all the authors out there that appreciate these things as much as I do.
Cheers!
September 15, 2016
I am proud to present the results of my long-time project, the Emotion Adjectives. This is a list of 184 emotion and feeling words. I came up with the first 138 on my own, then started to check back with dictionaries, friends, and other lists to complete mine. There are still more of these adjectives out there that I didn't add! I'm sure there are plenty more. But this is a pretty comprehensive list for all the authors out there that appreciate these things as much as I do.
Cheers!
|
Adventurous
Afraid Agitated Alert Amazed Ambitious Amused Angry Annoyed Anxious Apathetic Appreciative Ashamed Assured Astonished Astounded Awakened Bashful Bewildered Bitter Bold Bored Bothered Brash Brazen Breathless Brokenhearted Bubbly Calm Carefree Cheerful Comfortable Comforted Concerned Condescending Confident Conflicted Content Confused Cornered Crazy Cross Curious Damaged Dangerous Decided Demented Depressed |
Devastated
Devoted Desperate Disillusioned Disappointed Discouraged Disgusted Disinterested Dismayed Dispassionate Distant Distracted Dizzy Doubtful Drained Eager Ecstatic Elated Embarrassed Empathetic Empty Energetic Enigmatic Enraged Enlightened Exasperated Excited Fearless Feisty Ferocious Fiery Forlorn Frightened Furious Frustrated Generous Giddy Glad Glib Gloomy Grateful Grumpy Guilty Happy Heartbroken |
Hesitant
Hopeful Hostile Humiliated Hurt Hyper Impartial Impressed Inconsequential Indifferent Infatuated Insecure Insignificant Inspired Interested Inquisitive Irritated Jaded Jealous Joyful Lackadaisical Listless Lonely Longing Lost Loving Lucky Mad Magnanimous Manic Merciful/less Mischievous Miserable Misunderstood Mournful Mysterious Nervous Nostalgic Nosy Oblivious Open Optimistic Overwhelmed Panicked Passionate Peaceful Perplexed Persistent |
Petrified
Perturbed Pity Placid Playful Pleasant Powerful Powerless Proud Puzzled Reckless Relieved Reluctant Remorseful Repentant Repulsed Resentful Restless Reserved Rueful Sad Sarcastic Sardonic Scared Serene Sheepish Shocked Sickened Silly Sleepy Smug Sore Sorrowful Spiteful Startled Stirred Stressed Stretched Stubborn Stunned Taxed Tempted Tense Tentative Terrified Threatened Trapped Thrilled Tired |
Triumphant
Troubled Trusting Turbulent Uncertain Uncomfortable Understood Underrated Undervalued Unrelenting Uplifted Valiant Valued Vicious Victorious Vindictive Virtuous Voracious Vulnerable Warm Wary Weary Whimsical Wild Winded Withdrawn Wired Wistful Worried Worn Worthless Wounded |
Multiple Perspectives July 21, 2016
In a lot of stories, the protagonist isn’t the only one telling the tale. There are plenty of reasons out there for why you might want to give another character the limelight. Sometimes, the protagonist is absent from an important moment to the plot. (Treasure Island) Sometimes, the protagonist just doesn’t know everything, or is missing key information for a time that another character knows. (Insurgent) Some books balance different storytellers for every single chapter. (Winter) It is important to think through your options carefully before deciding to cut up and divide your story between different narrators. Here are some things I’ve had to consider in the past with my own writing:
Know your Protagonist. The protagonist should be the main character of the story. He or she should drive the plot of the book. If another character seems to be hogging the spotlight, or seems to be more of an impact character than the protagonist, then your choice of protagonist may be worth another look. However, on some occasions, it makes sense to let another character narrate for a little while.
Make It Obvious. If another character takes over, the reader needs to be fully aware of the switch. A short name intro at the top of the page might be the ticket if you are writing completely from first person. Otherwise, just keep in mind that the character perspective you are writing is a completely different person. They should think differently, act differently, and have slightly different speech patterns than the protagonist. And, if you are re-telling the same scene or story from a different perspective, always…
Add New Information. I’ve been frustrated more often than not with scene re-tellings from different perspectives because, let’s face it, the reader has been there before. They know what happens in the scene. They’ve already been given all the information from the protagonist’s POV. It’s just…boring to read it again, no matter how much we adore the other character. So, if a new character steps onto an old scene, be sure to add new information into the perspective that the reader didn’t know already.
A recent example of this from my reading list was Four from the Divergent series. I understand that everybody loved this character in the main series, but once he had his own book, there really wasn’t any new information shared. It was a complete re-hash of the original book, Divergent. The reader already knew:
– Why Tobias left Abnegation
– How he got the name “Four”
– Why he didn’t become a Dauntless leader
– What his fears were
– Aaand the fact that Erudite was planning an attack
Different perspectives can definitely add a new dimension to stories. Some of my favorite books have multiple perspectives, and when done right, they help the story have better flow and consistency. Protagonists sometimes suffer from tunnel vision, bias, and some amount of ignorance. Other perspectives should help level out these holes and should draw the reader even deeper into your story.
In a lot of stories, the protagonist isn’t the only one telling the tale. There are plenty of reasons out there for why you might want to give another character the limelight. Sometimes, the protagonist is absent from an important moment to the plot. (Treasure Island) Sometimes, the protagonist just doesn’t know everything, or is missing key information for a time that another character knows. (Insurgent) Some books balance different storytellers for every single chapter. (Winter) It is important to think through your options carefully before deciding to cut up and divide your story between different narrators. Here are some things I’ve had to consider in the past with my own writing:
Know your Protagonist. The protagonist should be the main character of the story. He or she should drive the plot of the book. If another character seems to be hogging the spotlight, or seems to be more of an impact character than the protagonist, then your choice of protagonist may be worth another look. However, on some occasions, it makes sense to let another character narrate for a little while.
Make It Obvious. If another character takes over, the reader needs to be fully aware of the switch. A short name intro at the top of the page might be the ticket if you are writing completely from first person. Otherwise, just keep in mind that the character perspective you are writing is a completely different person. They should think differently, act differently, and have slightly different speech patterns than the protagonist. And, if you are re-telling the same scene or story from a different perspective, always…
Add New Information. I’ve been frustrated more often than not with scene re-tellings from different perspectives because, let’s face it, the reader has been there before. They know what happens in the scene. They’ve already been given all the information from the protagonist’s POV. It’s just…boring to read it again, no matter how much we adore the other character. So, if a new character steps onto an old scene, be sure to add new information into the perspective that the reader didn’t know already.
A recent example of this from my reading list was Four from the Divergent series. I understand that everybody loved this character in the main series, but once he had his own book, there really wasn’t any new information shared. It was a complete re-hash of the original book, Divergent. The reader already knew:
– Why Tobias left Abnegation
– How he got the name “Four”
– Why he didn’t become a Dauntless leader
– What his fears were
– Aaand the fact that Erudite was planning an attack
Different perspectives can definitely add a new dimension to stories. Some of my favorite books have multiple perspectives, and when done right, they help the story have better flow and consistency. Protagonists sometimes suffer from tunnel vision, bias, and some amount of ignorance. Other perspectives should help level out these holes and should draw the reader even deeper into your story.
Sounds April 26, 2016
One thing, among many, that an author always needs to be is a walking thesaurus. The very air we breathe is words. In order to squeeze out the adverbs in our stories and make the best use of our adjectives, we practically need to be a thesaurus.
Today, I am focusing on sounds and vocal intonation, starting with the more common descriptions for voice:
flat, monotone, lilt, grating, musical, booming, gruff, throaty, breathy, brittle, silvery (lol, mermaids), soft-spoken, tight, strident, soothing.
A confident musical vocabulary will also go a long way. Some useful musical words to use include: trill, accent, pitch, tone, contrast, rhythmic, dynamic, legato, strain, melodic, symphony, crescendo, harmony, (bass, tenor, alto, soprano), chorus, sonorous, lyrical, singing (singsong).
More Everyday Sounds: continuous, endless, reverberating, echoing, gentle, piercing, rolling, blaring, screeching, resounding, controlled, squeaky, rich, cacophonous, discord, harsh, whistling, deep, soft, droning, repetitious, tenuous, purring, blasting, vibrating, whining, and whirring.
I hope these lists were music to your ear!
One thing, among many, that an author always needs to be is a walking thesaurus. The very air we breathe is words. In order to squeeze out the adverbs in our stories and make the best use of our adjectives, we practically need to be a thesaurus.
Today, I am focusing on sounds and vocal intonation, starting with the more common descriptions for voice:
flat, monotone, lilt, grating, musical, booming, gruff, throaty, breathy, brittle, silvery (lol, mermaids), soft-spoken, tight, strident, soothing.
A confident musical vocabulary will also go a long way. Some useful musical words to use include: trill, accent, pitch, tone, contrast, rhythmic, dynamic, legato, strain, melodic, symphony, crescendo, harmony, (bass, tenor, alto, soprano), chorus, sonorous, lyrical, singing (singsong).
More Everyday Sounds: continuous, endless, reverberating, echoing, gentle, piercing, rolling, blaring, screeching, resounding, controlled, squeaky, rich, cacophonous, discord, harsh, whistling, deep, soft, droning, repetitious, tenuous, purring, blasting, vibrating, whining, and whirring.
I hope these lists were music to your ear!
Some Useful Fonts February 26, 2016
I know designers and writers alike share a love for fonts. These are some fonts that I've collected over the years, all free for commercial use or open source. Their names are to the right of a short description I gave them. The description is just my idea of what style each font falls under.
4 Bad Writing Habits that Easily Frustrate – December 10, 2015
As illustrated in ABC's Once Upon A Time
1. Overstuffed Plots
I understand. Writers want to keep us awake and interested, the material filled with new and exciting things. But that also pulls attention away from the main story line and slows the pace. If the main story line doesn't have what it takes to carry the story, then there's a bigger problem.
2. Twists just for Effect
No foreshadowing + no necessity = bad twist. It looks like the writer had already written the material before it, then had the idea and roughly inserted a twist for dramatic effect. Readers/viewers aren't stupid. We know when the twist was contrived and poorly thought out. Be smarter than that! Craft a twist into the story that makes us say: "Oh! I should have known," but we didn't.
3. Character Arcs
This is related closely to 2. If all actions are to have weight, characters' sudden decisions that negate any arcs are highly frustrating. Whether a positive or a negative arc, we hate to see a character move in a certain direction only to say "just kidding" for no reason except for dramatic effect. Once again - bad twist.
4. (Pet peeve) Follow Your Own Rules
A critical ingredient in any fairytale or fantasy is the magic system. And, since OUAT was a combination of several fairytales, they had a lot to work with. As a writer, you have the license to wow us with whatever combination of cool magical touches you want. You do not have the license to break your own rules without explanation. Magic is only as believable as its rules. If we are told what a certain magical object can and cannot do, when it suddenly breaks its own laws, where are the stakes?
OUAT started off as a brilliantly and intricately woven original fairytale. As time went on, however, they began to dilute their formula with these 4, as well as several other, writing schemes. Repeating ideas until they become stale, adding too many characters, plot convenience, and deux ex machina type salvation eventually took Once Upon A Time to level 0.
Structure and Plot Points - Is this really necessary? October 19, 2015
I have heard and experienced this so many times: “The middle of my story is sagging…I can’t think of any ideas…I started out with a bang, then couldn’t finish the book.” We’ve all had those story concepts that we thought were going somewhere great, but we never reached our destination. Or, written story drafts where the middle is boooooorrrring. (I’ve certainly read some of those too.) The underlying problem? Story structure. Those two words sounded like they would undermine my creativity and artistic liberty at first glance. Plot points? Inciting events? But those incredible books and movies that you love the most have excellent structure. It was carefully planned and executed. When pulled off correctly, the reader doesn’t even notice. Those plot points are fluidly and seamlessly weaving together the creative threads of your novel into one complete and beautiful picture. The story concept is a great place to start. But, after that you have to picture the next step your characters will take, and the next one, and the next one…. Until finally, the destination or goal is accomplished.
I have heard and experienced this so many times: “The middle of my story is sagging…I can’t think of any ideas…I started out with a bang, then couldn’t finish the book.” We’ve all had those story concepts that we thought were going somewhere great, but we never reached our destination. Or, written story drafts where the middle is boooooorrrring. (I’ve certainly read some of those too.) The underlying problem? Story structure. Those two words sounded like they would undermine my creativity and artistic liberty at first glance. Plot points? Inciting events? But those incredible books and movies that you love the most have excellent structure. It was carefully planned and executed. When pulled off correctly, the reader doesn’t even notice. Those plot points are fluidly and seamlessly weaving together the creative threads of your novel into one complete and beautiful picture. The story concept is a great place to start. But, after that you have to picture the next step your characters will take, and the next one, and the next one…. Until finally, the destination or goal is accomplished.
Take a Personality Test! April 13, 2015
Even fictional characters need to take a personality test! Amid a sea of people and voices, your MC needs to stand out as a unique individual. How quickly can you spot him?
Character Rating Chart
_______________________________________________________________________________________________________________
Clear on personality?
Ex:
Laid back or intense
Lazy or active
Smart or careless
Extrovert or introvert
Unflappable or easily frightened
Distant or personable
Clear on motivations?
Ex:
What do they want out of life?
Do they want a family?
The perfect job?
A good relationship?
Clear on strengths and weaknesses?
Ex:
Athletically challenged?
Too sensitive?
Overbearing?
Photographic memory?
Good typist?
Clear on hobbies and interests?
Ex:
Artist?
Collector?
Math whiz?
Skateboarder?
Clear on relationships with family members?
Rebellious younger sibling?
Distant older brother?
Authoritative or Permissive parents?
Clear on speech patterns and common phrases?
Everyone has their own unique voice! Fictional characters should be no different.
In which of the six categories is your character the strongest? The weakest? If you feel pretty confident about each category, your character is likely a unique individual that readers can recognize and empathize with better.
Extra Check: If a chapter was written in first person and there was no explanation to which character was speaking, how quickly could you figure out that it was the main character? Is the story’s main character unique enough that you could spot him/her?
How easily could you identify a supporting character? Do even the minor characters have a unique voice and an identifiable personality?
Even fictional characters need to take a personality test! Amid a sea of people and voices, your MC needs to stand out as a unique individual. How quickly can you spot him?
Character Rating Chart
_______________________________________________________________________________________________________________
Clear on personality?
Ex:
Laid back or intense
Lazy or active
Smart or careless
Extrovert or introvert
Unflappable or easily frightened
Distant or personable
Clear on motivations?
Ex:
What do they want out of life?
Do they want a family?
The perfect job?
A good relationship?
Clear on strengths and weaknesses?
Ex:
Athletically challenged?
Too sensitive?
Overbearing?
Photographic memory?
Good typist?
Clear on hobbies and interests?
Ex:
Artist?
Collector?
Math whiz?
Skateboarder?
Clear on relationships with family members?
Rebellious younger sibling?
Distant older brother?
Authoritative or Permissive parents?
Clear on speech patterns and common phrases?
Everyone has their own unique voice! Fictional characters should be no different.
In which of the six categories is your character the strongest? The weakest? If you feel pretty confident about each category, your character is likely a unique individual that readers can recognize and empathize with better.
Extra Check: If a chapter was written in first person and there was no explanation to which character was speaking, how quickly could you figure out that it was the main character? Is the story’s main character unique enough that you could spot him/her?
How easily could you identify a supporting character? Do even the minor characters have a unique voice and an identifiable personality?
Is My Character a Night Owl? February 26, 2015
Those questions we should ask about our main character
My first dog was a tiny, fluffy white mutt that I called Coconut. My mother is allergic to bananas. My sister loves bright colors and glitter (lots and lots of glitter). I could tell someone hundreds of facts about my family and friends and their personalities, but could I do the same for my MC? At some point in the process of creating my story, I have to stop and realize that this question is important. Do I really know my character? Is he a real person to me, with real hobbies, phobias, quirks, and passions? Or, have I just thrust this person into a plot before the reader gets a chance to really know them? I’m not saying that writers should list a bunch of facts about their MC in the beginning of the story, but rather that interesting tidbits be sprinkled throughout the entire story. It really disappointed me the moment that I realized, almost entirely through a rough draft, that my character didn’t have a special object or belonging that meant a lot to her. Oh my goodness! I realized. She should. But I’d never thought about it before. In real life, everyone I know has something that is special to them. I have a certain collectable that I won’t even let my family touch.
Now I must add: not every character needs to be this well developed. It is okay to spend a lot of time with the MC, really creating a personality with relatable aspects, strengths and shortcomings. But minor characters don’t necessarily require all that. The reader doesn’t learn the whole life story of some of the minor characters, or follow them around for the entirety of the book. But they definitely should get to know the main character. Sometimes I have to remind myself to ask the MC about his life. So, are you a morning person?
Those questions we should ask about our main character
My first dog was a tiny, fluffy white mutt that I called Coconut. My mother is allergic to bananas. My sister loves bright colors and glitter (lots and lots of glitter). I could tell someone hundreds of facts about my family and friends and their personalities, but could I do the same for my MC? At some point in the process of creating my story, I have to stop and realize that this question is important. Do I really know my character? Is he a real person to me, with real hobbies, phobias, quirks, and passions? Or, have I just thrust this person into a plot before the reader gets a chance to really know them? I’m not saying that writers should list a bunch of facts about their MC in the beginning of the story, but rather that interesting tidbits be sprinkled throughout the entire story. It really disappointed me the moment that I realized, almost entirely through a rough draft, that my character didn’t have a special object or belonging that meant a lot to her. Oh my goodness! I realized. She should. But I’d never thought about it before. In real life, everyone I know has something that is special to them. I have a certain collectable that I won’t even let my family touch.
Now I must add: not every character needs to be this well developed. It is okay to spend a lot of time with the MC, really creating a personality with relatable aspects, strengths and shortcomings. But minor characters don’t necessarily require all that. The reader doesn’t learn the whole life story of some of the minor characters, or follow them around for the entirety of the book. But they definitely should get to know the main character. Sometimes I have to remind myself to ask the MC about his life. So, are you a morning person?
Those Writer's Block Moments - When You're On A Deadline April 25, 2014
I always know those days are coming. I dread them, but I just know they're coming - those miserable writing days when my mind is as blank as the Word document page in front of me. But when those days come, and especially when you're on a deadline to get that novel done, I would suggest approaching that writer's block day with a little planning.
What I typically use to combat these days is a chapter that fits the mood. If I am stuck in the middle of my book, about to write an exciting, terrifying, or perfectly romantic scene, I save that scene for later. Yes, I skip it. If I already have my plot points and have an idea for what needs to get written, I write a different chapter or scene that day. If I don't have the creative energy flowing to make my romantic scene romantic, it needs to be saved for a day when I do have that creativity. Those other scenes that don't have much action in them have to get written some time or another. And the perfect day for that? The dreadful boring writer's block day! If you have to get something on the paper to stick to your deadline, write a scene that's not as energy draining. Take your character to the park with Scruffy that day. Save your awe-inspiring climax scene, or your death-defying scene, for the days where you have what it takes to make that scene come alive to your readers as much as it already does in your head.
- Christy A.
I always know those days are coming. I dread them, but I just know they're coming - those miserable writing days when my mind is as blank as the Word document page in front of me. But when those days come, and especially when you're on a deadline to get that novel done, I would suggest approaching that writer's block day with a little planning.
What I typically use to combat these days is a chapter that fits the mood. If I am stuck in the middle of my book, about to write an exciting, terrifying, or perfectly romantic scene, I save that scene for later. Yes, I skip it. If I already have my plot points and have an idea for what needs to get written, I write a different chapter or scene that day. If I don't have the creative energy flowing to make my romantic scene romantic, it needs to be saved for a day when I do have that creativity. Those other scenes that don't have much action in them have to get written some time or another. And the perfect day for that? The dreadful boring writer's block day! If you have to get something on the paper to stick to your deadline, write a scene that's not as energy draining. Take your character to the park with Scruffy that day. Save your awe-inspiring climax scene, or your death-defying scene, for the days where you have what it takes to make that scene come alive to your readers as much as it already does in your head.
- Christy A.
Writer's Websites:
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helping writers become authors.com
JSMorgan.com*
* Author J.S. Morgan talks about "7 Types Of Heroes," and other writing subjects in his blog, such as world building and fantasy writing. The link, to "7 Types of Heroes", is a great post, and along with "50 types of minor characters" gives authors a great viewpoint for their characters as they create them.
Building your own writing platform tutorial from Writer's Digest:
http://tutorials.writersdigest.com/p-323-build-your-own-writing-platform.aspx?et_mid=515567&rid=163740095
http://tutorials.writersdigest.com/p-323-build-your-own-writing-platform.aspx?et_mid=515567&rid=163740095
