Four Character Essentials

A popular post from February 2013

By Josi S. Kilpack

I was recently on a Fiction Writers Panel with Steven Peck and Greg Park. It was interesting that the three of us were there as we have all had unique experiences. Peck is a biology professor, Park is a creative writing teacher. All of us are novelists and write very different things. One of the questions we were asked was what were the most important things about creating characters.

What we pulled out of our collective hat were four things: A flaw, a special ability, a prominent physical feature, and a personal history.

Flaw:
Greg shared a quote I hadn't heard before. I have gone online and tried to find who to credit it to but the best I can get is that it's Angus's Grandpa in the movie Angus. He'd said to Angus that Superman wasn't brave, then explained "He's smart, handsome, even decent. But he's not brave . . . Superman is indestructible, and you can't be brave if you're indestructible" Greg went on to explain that yes there is Kryptonite, but that doesn't affect his courage, just his abilities in very specific circumstances. As I've thought about it I think I figured out his flaw, however. He was different. That's what's hard for him. He is not a mortal, he is in the wrong world and this causes him trouble. And therefore, every character has flaws. Readers want it because they want characters they can relate to, characters who feel real and we know that no one is perfect. Flaws are also fabulous in regard to how they can affect plot. Using your characters imperfections to create tension.

A special ability:
This doesn't mean they have to be a master wizard or an expert archer or genius IQ, but they do need to have something that makes THEM the person to change the 'world.' By world I mean whatever sphere he is battling in the story you are writing. Maybe they are clever, maybe they are small and manage to hide somewhere no one else could, maybe they know that the "rules of haircare are simple and finite." It doesn't have to be better than everyone else, but it needs to set them a part, even if it's just a little bit. When things are dire, they will use this special ability to come out ahead.

A prominent physical feature:
Harry's scar, Ron's red hair, Katniss's beauty, Elle Wood's blonde hair, Scarlett O'hara's good looks. For my character Sadie, it's her hair--which changes in most books--and her non-slim figure. It doesn't mean you choose something different than anyone else's, but just something that helps to solidify the view of the character in the mind of your reader. It keeps your character visual and while it might become essential to your plot--Harry's scar, Quasimodo's deformities--it might just be an element of your story but it should be there.

A personal history:
All three of us agreed that it's history that creates motivation and motivation which creates plot. The Phantom is who he is because of where he came from and the trauma of his childhood. Harry wants to belong in the wizard world more than anything because he's never fit anywhere. Aladdin hides who he is because he's a street urchin and he's used to being discarded because of his class. Knowing where your character came from and how his life has shaped him will make a lot of the plot points fall in to place far more organically if you do it backward; start with motivation and then try to figure out why it's there. Many authors I know create very detailed backgrounds on their characters, most of which will never show up in the story but which is essential for them knowing how this character will shape the story.

I love to hear your favorite character and how all of these four points are reflected within them. Please share!

The Middle of Nowhere

A popular post from September 2011

I live in the literal middle of nowhere. Getting to my house is one of those experiences where you start out thinking about how fun the road trip is going to be. You take off with your snacks, and your drinks, and your awesome music you can sing along with. But once you leave the freeway and enter the highway, things feel less promising than they did when you took off. You're moving slower because the speed limits are so incredibly lamely LOW, and sometimes you get stuck behind semi trucks who make the lame low speed limit look like Nascar, and the scenery doesn't feel like it's changing. It's more of the same thing over and over and over. And sometimes you get stuck out there in the middle--due to cattle or sheep, or rolled semi trucks (it happens). Sometimes you get stuck for a long time and it totally bites because there isn't even any cell service.

People show up at my house and come panting in my living room and plopping down on my couch with great exclamations of how they NEVER thought they would get there.

I get them a drink and lament American highways with them because it's the right thing to do. It really is a long drive--necessary for me, but long.

Writing feels similar sometimes.

You get this great idea--this epic, amazing, you-can't-believe-the-idea-actually-came-to-you idea, and you take off, writing furiously. You've got your snacks, your drinks, your best writing music, and you are so excited about what you're working on, you can barely keep the grin off your face. You know that the ending of this work will be colossal, amazing. You're thrilled with how fantastic the destination of the end of your book will be for readers of all ages. You are going to change the world.

Until you find yourself in what feels like the two-lane-highway-stuck-behind-a-semi-truck part of your book.

Welcome. You've now reached the middle.

And you start to doubt.

Is this really where you wanted to go anyway? What's so great about reaching "the end?" Maybe that beginning was the mistake. Maybe you took a wrong turn somewhere . . .

So instead of writing, you rearrange your pen collection, get up for a different snack--you were sick of chips anyway and realize carrot sticks might be healthier. You punch some buttons on the remote control to see what might be on.You call your friends and see about going to a movie, but they're busy writing--jerks, and then you decide that health is overrated, and you wanted ice cream instead.

There are some things you can do to pass the semi--clear the flock off the road, and get back to the freeway that will take you where you want to go.

Boring:
Are you bored? If you're bored, I promise, your reader is too. If that's the reason the middle's slowing down, then you might want to insert some action, some peril, something that incites your characters and your readers. Put them in danger, make the girl lose the guy, have the murderer strike again while the detective is still scrambling with clues. Make something happen that propels the action and the plot forward again.

Goals:
Does your character not have clearly defined goals so your characters are kind of wandering around in the misty middles of nowhere because they're not sure what to do next? if this is the case, go back and find something your character desperately wants or is desperately passionate about. That is the goal. Keep them moving toward the goal, which will help move them away from the middle and closer to the end. Make sure the goal is big enough that the readers will care if the goal is achieved. If the quest is merely for a pint of ice cream--you might not be able to get the reader to follow the journey to the end. Make it riveting enough to hold your attention.

Make sure your antagonist has a clear goal too. No one is evil just for the sake of evil. They have things they want and are trying desperately to achieve.

I have a tendency to get lost in my manuscripts about page 60, and then again at page 120. But I've always found that it's because I've lost sight of the goal or failed to keep the action and plot moving. Middles don't have to feel like the boring nowheres they sometimes seem to be. Take the scenic route and turn your music up louder. And remember to have fun with it!

Creating Magic Systems

A popular post from June 2011

by Heather Moore

This week I’m attending the Writing & Illustrating for Young Readers conference. A lot of big named authors are there, including Carol Lynch Williams, Allyson Condie, Brandon Mull, Kathleen Duey, Holly Black, and Kristyn Crow, just to name a FEW.

So for someone like me, who has several historical novels published, but is looking to get my first YA science fiction series contracted, it’s a guessing game—which workshop to go to. I know the craft of writing, but every genre has its particulars (Picture Book writing is in its own class).

Since Holly Black wrote the Spiderwick Cronicles, I decided to listen to her presentation. Last week I’d “tweeted” and asked her which book I should read of hers as a new reader. (Some of my kids have read her Spiderwick books, and might have even seen the movie, but not me). She recommended that I read White Cat, first in her new Curse Makers series.

White Cat is an intricately plotted book based on a fascinating magic system. In this world, magic is considered bad and is run by the underground community, mainly mobsters. I don’t know if I’ll ever write a fantasy novel, but I did a ton of world-building for my WIP.

I found myself doing something that I rarely do in workshops these days—madly taking notes.

Holly Black described her world-building process as “6 crazy blue circles”. Each of her “circles” are the springboard for answering the important world-building questions.

According to Holly, coming up with a magic system that works, you must ask yourself these 6 questions:

1. Who has it?

2. What does it do?

3. How do you make it happen?

4. How is user affected?

5. How is world affected?

6. How are magic users grouped & perceived?

Holly then proceeded to answer these questions in reference to White Cat. (If you haven’t read it, this next part might not be as fulfilling. So go read it!)

1. Who has it? 1/1000 have it; it’s genetic

2. What does it do? It’s curse magic, and it can either bring luck, create dreams, change memories, affect emotions, bring physical death, cause transformation

3. How do you make it happen? Magic is transferred by bare hands touching someone’s skin (everyone wears gloves in this world)

4. How is user affected? Blow back (part of the magic blows back into the curse maker)

5. How is world affected? Magic is illegal and underground magic is controlled by the mobsters.

6. How are magic users grouped & perceived? Magic is not good and is perceived as a crime to use it.

Holly added some other great things to ask yourself during the world-building process, then concluded that it’s great to test your magic system on people who game or role play—since they are always trying to break the rules.

Best and Worst Advice

A popular post from July 2010

By Julie Wright

We used to play a game at my house called Best Part of the Day (I know. We're brilliant with titles, aren't we?). It was where everyone went around the table and shared the best part of their day. Sometimes, the kids would share the worst part of their days too. It was a way we learned a little about each other. We also learned a lot about the world around us because it usually inspired conversations that required explanation.

At a recent conference I spoke at, I was also on a panel with several other authors and one of the attendees asked, "What is the best advice you've ever received as an author?"

It was surprising what the responses were from each of the authors on the panel. Much like my children, the best meant something entirely different for each unique person.

For me, the best writing advice ever given in my life came from a small meeting after class with my seventh grade English teacher. The advice actually came from myself, but Mrs. Brown had fished around for it until it came out. I was entering a contest and showing her my entry. She asked me,

"What will you do if you don't win?"

It had never occurred to me that I wouldn't win. OF COURSE I would win because I was brilliant. But I stood there shifting from foot to foot and searching myself for the answer to that question. Finally I said, "I guess I'll keep writing."

She exhaled in relief and said, "Good girl. I was hoping you'd say that."

To keep writing no matter what was my best advice. To keep writing even when I took second place. To keep writing when I didn't place at all. To keep writing when I had nothing worthy to write about. To just keep writing.

The other authors had things like: Don't wait until you find time, because you never will. Don't get arrogant when you finally get published, because someone else will always be there, outselling you and outwriting you. Stop talking about it; just sit your butt in the chair and just get it done.

The question naturally led to another question, "What is the worst advice you've ever been given?"

The answers were again all different. For me, the worst advice came from a speaker at a conference. The speaker had started out arrogant and obnoxious and I partly wonder if everything he said grated on me because his attitude was so prickly, but he said something that felt untrue for me--though it might have been someone else's best advice . . . who knows.

He said, "Forget the audience. You're writing for yourself, and yourself alone. The audience means nothing to you"

Um, okay, unless you're trying to SELL to an audience. For me, his advice didn't work. I wrote to an audience--myself being part of that audience. All the humor, all the sentimental stuff, the age range . . . I target it to the audience I'm writing for. For me that works. It might not for someone else. Like I said, my worst advice might be someone else's best.

Other authors' bad advice consisted of: The NEVER and ALWAYS rules. They said to avoid people with absolutes in their advice.

Another was that beginning writers should start out writing poetry and short stories before they dare attempt a novel length work. Any advice that makes you feel bad about yourself or less worthy is bad advice.

Whenever we do anything in our lives, there are voices out in the crowd throwing in their opinions on how we should manage ourselves. Some are well meaning; others are resentful. Some are excited for our futures; others could not care less but like to have something to say anyway.

The point is to be careful who we listen to. Take the advice that works for you and let the rest go.

What's the best and worst advice you guys have received?

The 2 Sides of a Good Writer

A popular post from March 2011

by Annette Lyon

In college, my creative writing professor sat me down for a one-on-one critique with a short story I'd written. He raved about my beautiful prose and sentence structure, how the writing was so clean.

And then he ripped into my unbelievable character motivations and rather lame plot arc.

This was my first taste of the two sides of a great writer:

The Storyteller

This side of the writer comes up with the great story ideas and finds ways to tell the stories in unique and interesting ways.

The Word Smith

This side of the writer has a way with language. The word smith can write smooth and seamless sentences and paragraphs, often beautiful ones.

Many writers have one as their primary writing strength (like I did), and while they can always improve in that area, they have to actively learn the other side. The good news is that, in general, you can strengthen the side you're weaker on.

Back in college, I was pretty solidly a word smith. I've since studied books and magazines, gone to conferences, been critiqued by solid writers, and more to learn how to tell a great story. It's taken years of studying the craft to figure out how to create a great plot and tell a ripping good yarn, but I think it's paid off.

On the flip side, I know writers who have an innate ability to spin those yarns. They have huge imaginations that take flight and hold other people captive . . . but they can't string two sentences together without sounding clunky and awkward.

The good news for natural storytellers is that often a great idea and a wild story can get a writer's toe in the publishing door, while no matter how smooth a manuscript is as far as writing goes, if it's boring or cliche, it's not going to get picked up.

In that sense, storytellers have an advantage over word smiths. But storytellers still need to learn the ropes of word smithing if they hope to truly be successful.

I've probably mentioned this story before, but it bears repeating: a managing editor at a publisher told me how they'd had to turn down manuscripts because, even though they loved the stories, the books as is were too messy to take on and spend the money to clean up editorially.

Storytellers + sloppy writing = rejection.

You can't expect an editor to fix all your problems. No matter how polished you make your book, you'll still need an editor, and an editor can take a book up only one level at a time, not from level two to ten in one fell swoop.

If you're just a storyteller, you may get passed over because someone else, also a great story teller, happens to be a better word smith.

Or, if you're like me, you can write books smooth as silk but be passed up for years by others who are better storytellers, submitting more imaginative and exciting tales.

Of course, the best scenario is for you to be both a great storyteller and a great word smith, too. Once you learn at least the fundamentals of both sides, you're really on the right track for getting published and being successful.

Which is your forte, storyteller or word smith?

How can you strengthen (or how have you strengthened) the other half of your writer self?

Good Writers Use . . .

A popular post from November 2013

By Julie Wright

Good writers use pens. That's the advice from my tenth grade English teacher, Mr. Cowden. I know I shred this man a lot due to the fact that he singlehandedly tried to put a stop to the writing career dreams of my youth. But I thought of something he'd said all those years ago that struck me as weird today while I edited over some of the new pages I'd written. He said something to the effect of: "Good writers always write in pen because it shows they have the confidence and education to know that they will get it right the first time."
I wanted to be a confident and educated writer. I wanted to be a *good* writer most of all. I wrote with a pen from then on. My first three and a half books were written by hand and all in pen. I have a dozen notebooks filled with pen-scrawled words (and scratched out words and even scratched out pages). It's been years since my handwritten manuscript days, years since a pen was used for anything more than signing a book.
The computer is my new pen. Bless the smart people who created word processing.
Today, I deleted a whole lot. The deletes made the dialogue smooth, the narrative stronger. And I thought back to that day with Mr. Cowden. I thought back to how on some level I must have respected him as a teacher--must have believed his declaration that good writers use pens. Why else would I write with such an instrument for so many years after his class?
I declare my independence from such bad advice.
Why use a pen when a pencil is so obviously superior? A pencil comes with an editing device called an eraser. Good writers should use pencils. Because good writers know the importance of a good edit. It isn't about being arrogant the first time you put an idea down. It's about getting it right.

Upcoming Writers Conferences

WIFYR:

For all children's authors seeking to be published and/or improve their work, The Writing and Illustrating for Young Readers Conference is not to be missed. Held at the Waterford School in Sandy, Utah, June 18-22, the five-day conference offers nine morning workshops with experienced author, editor, or illustrator manuscript critiques. The faculty includes Cynthia and Greg Leitich Smith, Matthew Kirby, Tim Wynne-Jones, A. E. Cannon, Carol Lynch Williams, Ann Dee Ellis, Covenant Communications editor Kirk Shaw, Illustrator Julie Olsen, and many others. The conference also offers an afternoon-only option. This year WIFYR is sponsoring a Writing Competition and Fellowship Award with a $1000 cash prize. Contest deadline is April 20th. For details, go to WIFYR.com


The Teen Writers Conference
Registration is now open! Keynote speaker is Elana Johnson. Other speakers include many award-winning authors. Deadline to register is June 15, 2012.
When: Saturday, June 23, 2012
Where: Weber State University
Who: Teens, ages 13-19
Writing Contest!

Register at THE Teen Writers Conference website.