Showing posts with label characters. Show all posts
Showing posts with label characters. Show all posts

Baggage Claim

© Dan Wallace | Dreamstime Stock Photos
Ever notice how some characters are immediately interesting while others struggle to pull us in? I think a big part of the reason is, you guessed it, BAGGAGE.

A. Give your characters baggage
Even if it’s just a small quirk, all characters should be bringing something to the book before we read that first page. This helps set their motivations and drive their action. I’ll never forget my original beginning of the first book I worked through with my crit group. It literally opened with my MC walking along the beach, smiling.

Yikes! Where’s the tension? Where’s the conflict? Things were too perfect (And honestly, they should have been anything but. She was coming off a major solo journey that would have left anyone nerve-wracked.). But young Nicole hadn’t wanted to give readers a glimpse of that baggage right up front.

I learned.

I fixed it and completely changed the tone by starting in a slightly different place and letting that baggage (perfectionist, stubborn, weight of the world, mommy issues) influence her actions.

B. Let your readers see it, but don’t hit us over the head with it
It’s important to share parts of the characters’ baggage with readers – that’s what makes us sympathize with and care for them – but you want to dole it out slowly, a little at a time. Info dumps are not your friends. Did JK Rowling tell us all of Harry’s history in book one? Did we know the full horror of the Hunger Games and Katniss’ personal baggage with Peeta from the first page? Nope. But we knew some.

Everyone take out your “Show, don’t tell” merit badges. This is where you earn them again and again. Show us your characters’ actions are influenced by their histories, their fears or their faults. It advances the story and gives us a glimpse into their past.

Leaving Room for Spontaneity

©  | Dreamstime Stock Photos

Imagine how boring and stressful our lives become when we don’t leave room around the edges for spontaneous fun or spur-of-the-moment decisions. The same holds true for characters.

While we know every moment of our book is plotted, readers should feel like our characters could spin off into random actions every once in a blue moon. Otherwise, the most beautifully twisty plots become semi-predictable and overburdened with tension. But how do we convey that spontaneity in a way that doesn’t seem contrived?

  • Let your characters do something totally different than the heart of the current plot (notice I didn’t say totally unrelated to the plot). If war is pending, have them race to the river on a dare, let them check the home-brews they’ve started on their space shuttles, or go dancing in the sky. It’s funny how often—in fiction and in real life—THESE are the moments that stick with us and carry the most poignant meaning.
  • Time of day can also be helpful. Early morning or late evening and night are great times for spontaneous walks, flights, swims, and reflection. It also provides a pause in the action so your character (and readers!) can catch a breath.
  • Have your character meet someone new or strike up a friendship with a previously distant co-character. The novelty and new set of dynamics between the two will help their actions feel spontaneous even in instances where it’s a little more scripted.

So, there you have it. A trio of ways to add spontaneity to your tightly plotted novel.

It’s also fun to track the spontaneous things you do in real life. Next time your friends ask you to get drinks, go fishing in the Amazon on a whim, or catch that flight to Iceland at the eleventh hour, start a list. You can use the ideas as inspiration.

Now, I’m off to do something wholly unplanned and adventurous!

Oh, and don't forget to catch up on all our reviews, author interviews and fandom posts over at Books. Fantasy. Fandom!


The Eyes Have It...Or Do They?


©  | Dreamstime Stock Photos

If you're anything like me, you've watched your share of gut-punchingly emotional scenes in movies or TV shows where the characters seem to say EVERYTHING with their eyes.

No words.

No actions.

Just the subtle play of their eyes in that split second to capture what they feel: heartbreak, hope, fear, disappointment, anger, love.

Even in our daily lives, the eyes tell a story of someone's moods, thoughts, and reactions. Talented actors and actresses can convey even more. (The 100's Bellamy Blake seems to have a corner on the expressive eye emotion market.)

So, if you're FURTHER like me, you watch these great scenes and think, "That! That right there is what I want to capture in my novel."

And here's where those eyes begin to lead us astray. The danger is that, while eyes can be a powerful nonverbal cue on-screen, readers can't actually SEE them on the page. We end up describing the eyes (telling) rather than the emotion itself (showing). All that great potential too often fizzles in feeble phrases like "He looked..." or "Her eyes widened."

This last one is a good example of the limitations. While "eyes widened" is a nice lead-in phrase, what does it actually tell us? People's eyes can widen in surprise, in hurt, in fear. Which one is your character facing?

On TV, we naturally intuit the answer from tiny clues. A frightened eye looks different than a surprised eye. But those are nearly impossible to communicate on page via eyes alone. In order for it to have meaning, we need to take it deeper and that can be danger-ground for telling.

But it doesn't have to be. Instead of letting the eyes do all the work, opt for other supports and alternatives that pack more punch on page:

  • Facial expressions and movement - What does your character do with her eyebrows, forehead, lips, nose, chin that helps convey what she's feeling?
  • Action - Make your character DO something. Even a subtle shiver or the clenching of a hand can speak volumes. Action is doubly effective for emotion, because it can be seen, and sometimes felt, by both the POV character and any other characters in the scene with him.
  • Internalized actions - Showing action doesn't mean your character needs to physically move. Throats can tighten, stomachs can turn cold, spines can stiffen.
  • Inner dialogue or thoughts - A character can't see her OWN eyes to describe emotion, so unless you're writing omniscient, sprinkle in some thoughts to give us a peek at her internal reaction.
  • Dialogue - This is your best bang-for-the-buck at conveying emotion and advancing the story. Dialogue on the page is what eyes are on-screen. Readers intuit the tone, subtle undercurrents, and what's left unsaid as much as what your characters discuss aloud.

Now, go forth and make us weep!

Grand Exits

It’s hard to kill off a character, especially a beloved character. We debate, gnash our teeth and wring our hands, (They don’t reeeaally have to die do they? What if I just rewrite the plot? Or maybe throw in some magic Lazarus serum. Yes, that’s it! Lazarus serum!), we cry (and hope our readers do too), and then we stare at the page totally drained of emotion and wondering if we’ve just made a huge mistake and where to go from here.

But here’s a secret. Killing off a character also can be opportunity to have a little fun. Hey, we’re writers, remember? We torture our characters for breakfast (and lunch, and dinner, and elevenses).

A well-written exit is a chance to make our adored character larger than life. The culmination of everything we’ve tried to convey about them, and it can be a huge page-turner and fan favorite if done right.

Here are some of my favorite final exit examples and why I love ‘em. Warning: Minor spoilers for Castle, Star Trek and Burn Notice.


Captain Montgomery: Castle

The Exit: In the semi-finale of a thread spanning multiple seasons, the loyal and beloved Captain Montgomery is revealed to be the mysterious “third cop” in a group of vigilantes entangled in the events surrounding the murder of main character Kate Beckett’s mom twenty years ago. Now, that past has caught up to him. He’s the only remaining survivor of the vigilante group, so the bad guy pulling the strings considers him a liability and gives Montgomery an ultimatum: turn over Beckett or they’ll kill his family.

Montgomery sets a meet with Beckett at an abandoned air field hangar. As she walks up to meet him, she gets a text that tells her he’s in cahoots with the bad guys. When she confronts him, Montgomery shows his true (awesome) colors. He used Beckett as bait to lure the bad guys, knowing he could get her safely away and take the bad guys down. Which he does. At the price of his life.

Why it Works: The twists! It’s a huge shock to the Castle team and viewers that Montgomery played a part in the backstory of Beckett’s mom’s death. We feel a sense of betrayal and whiplash, and because we’re so thrown off our game, there’s a lingering unpredictability throughout the rest of the episode. We have no idea what to expect.

The emotions! There is a very deep bond between Montgomery and Beckett, which is shown beautifully here as he gives his life to save her. Viewers, too, get the sense that, while Montgomery might be flawed or have made past mistakes, he is a man who stands his ground, a man to admire.

The lines! I have a soft spot for exits that include lines of bravado in the face of imminent danger or death. Montgomery’s last words, before he takes out the final bad guy (Who has just told him he can’t hide): “You’ve got that ass backwards, boy. You can’t hide from me.”


Kirk’s Dad: Star Trek (The new movies)

The Exit: George Kirk is on-screen less than 12 minutes. I love him anyway. The Romulans are attacking. The ship is crippled. There’s only one way to save his wife and infant son…stay behind. Not only does he do that, he does it with an aplomb and conviction of character that makes me want to cheer and weep at the same time.

Why it Works: Well, see above, for starters. Simultaneous cheering and weeping is like the gold medal standard of reader/viewer reactions.

Also, the pacing! It helps here because events move so fast and build a foundation of intensity that heightens our emotions all the more. The fact that they kept the dialogue running between Kirk’s parents throughout all of this was a brilliant move.

The effect on other characters! This is a great example of how a character death can alter the course of the lives around him or her. Sometimes, writing someone off isn’t the hardest part. It’s keeping everyone else going in their absence. We haven’t even met Kirk yet, but we sense this will play a defining role in making him the character we know and love. Don’t forget about managing the aftermath of your Grand Exits.


Madeline Westen: Burn Notice

The Exit: Madeline Westen, chain-smoking, straight-talking mom of spy hero Michael Westen, is trapped in a house with her grandson and Jesse (one of Michael’s fellow former spies) as the bad guys close in. Like, the really bad guys. The ones who also have Michael and gang pinned down in an office complex across town, threatening to kill Madeline and her grandson unless Michael gives himself up to die. So, what does Maddie do? She takes herself out of the equation. They have explosives in the house, but no remote detonator, so Maddie gives her grandson to Jesse to escape and sets it off herself, taking down the bad guys in the process.

Why it Works: The attitude! This ties back to my earlier comments about great final lines. Madeline Westen chooses to go out on her own valiant, kick-A terms. In a situation where the bad guys should clearly hold all the cards, she flips their metaphorical poker table so fast, it’s not even funny. They’ve lost their main bargaining chip, and Michael is now free to rain down hell on them.

There also is a strong sense of steely, motherly protection in her final scene. She wants to stick it to these guys, and she lets them know it. The bad guys enter the house, see a 50+ year old woman lounging on a couch smoking a cigarette. She fixes them with a sly, how-do-you-like-me-now smile, says: “This one’s for my boys,” and hits the button. People don’t forget characters like that!

Misc. Other Favorite Exits
  • Draco – Dragonheart *“Look to the stars.” Happy sigh.*
  • Boromir – LOTR *Can you say “redemption?”*
  • Wally Hamilton – The Far Pavilions *This one made me ache in a way beyond tears.*

How about you? Any you want to add to the list?

Off to the Editing Cave

How cool would it be if this were actually my editing cave?!
It's also the cave where this happened.
So...maybe not so cool.

I'm ducking into the editing cave for the next several weeks while many of you do NaNo. Here's a list of helpful archive posts to set you on your way!

Setting and Worldbuilding



Characters



Good luck with all those shiny new ideas, and see you in December!

In Which I Dispense Advice & Links

In case you're not on Twitter or not following me yet (Look right! Look right!), here's a fun recap of some character & worldbuilding pearls I shared last week. Two of my favorite topics in the writing world!

Hope these give you at least a few fresh ideas. There are lots of other truly great resources on both these aspects, so look around and talk with fellow writers.

Writing Unpredictable Characters

As writers (and readers), we often hear (or think) some variation of:

“Don’t let your characters act predictably. Keep it fresh. Keep us guessing. We want to be surprised, not bored.”

Ruggedly handsome mystery novelist Richard Castle said:

“Life should be an adventure. You want to know why I killed Derrick [Storm]? There were no more surprises. I knew exactly what was going to happen every moment of every scene. It’s just like these parties. They become so predictable.”

The point is, it can be downright tricky to actually DO this. My golden rule for keeping characters, reactions and situations unpredictable is threefold:
  1. Brainstorm several possible reactions/actions your character could take for a given scene. Write them down.
  2. Cross off at least the first two. You don’t want to use these; they’re likely too obvious.
  3. Review the rest of your list, especially the last few options. Play around with the possibilities. Ask yourself if any are a) mildly realistic, b) intriguing to readers. Chances are, you’ll find a scenario with a lot more oomph and surprise than you initially thought. Have some fun with it! Instead of having your heroine fight off that nasty zombie were-bear, what if she lassos it and rides it into battle on the side of good? Didn’t see that one coming, did you? Your readers won’t either.

Scarlet Review: No, NOT the Cinder/Red Riding Hood Scarlet

I first saw this book at Marie Landry's blog as part of a read-along and immediately knew I MUST get my hands on it. Why did I love it so, you might ask? Let me count the ways:

Get it here!

  • First of all, the cover. Can I even explain how perfect it is? Do you see it there? It is gorgeous! Right down to the details of her eyes and her scar.
  • Secondly, I'm a sucker for all things Robin Hood, and my cousin and I have had an ongoing inside joke about Will Scarlet for years. I think I'd had the book all of five minutes before texting her a pic of the cover: How awesome is this? Will Scarlet is a girl! And she looks badass! It's next on my list to read.
  • I'm a huge fan of plucky female characters who can handle themselves with weapons. Enter, Scarlet! A.C Gaughen writes her beautifully. Tough, tender, scrappy and stalwart. She's such a fun character to hang out with, and I loved watching her get into (and out of) trouble.
  • I'm a character author through-and-through, and characters are the biggest reason I fall in love with books. Every single character here shines. From Rob to John to Tuck to Gisbourne, Gaughen keeps them fresh and real while staying true to the time period and giving a nod to tradition. You can tell she truly loves the Robin Hood legends. This isn't written from a new perspective simply for a twist; everything fits into place and still honors the overall narrative. I cannot tell you how much I love and admire that decision on her part as an author.
  • Scar's dialogue. Think Huck Finn meets gritty streets of London. I fell in love with it from page 1, and it added immensely to Scar's character. Such a delight! It made me laugh (and almost cry) multiple times. It never felt heavy-handed, and when it does change, it does so with purpose. Honestly, everyone's dialogue is pretty stellar throughout.
  • Gaughen's attention to detail. This book is the rare combination of a wonderful, heartfelt retelling and an author who has mastered her craft to make it sing. There are so many great subtle lines or plot points, and scenes that are so poignant about life's truths without stalling the action. That takes skill, and it was a sheer joy to read. 
 
A.C. Gaughen is a writer I immediately and deeply respect. She does so many things right in this book. She gives us fantastic, vibrant characters and a frankly awesome plot, and does so in a way that leaves a lasting impression and leaves us a little better for having read it. I am counting down the days until the sequel releases next February.
 
Are you?
 


Character Advice from Dory: Letting Them Experience Adventure

We all know the rule: Be mean to your characters.

I love throwing mine into impossible situations and pushing them past their limits, but some writers really struggle with this. After all, these characters are like our friends.

So, here’s another (slightly nicer) way to think about it. Straight from the mouth of a lovable blue fish:

Marlin: I promised I’d never let anything happen to him.

Dory: Well, that’s a funny thing to promise. If nothing ever happens to him, then nothing will ever happen to him. Not much fun for little Harpo.

If we keep our characters safe, we also keep them static – no change, no tension, no stakes. Not much fun for readers either. By pushing our characters, though, we give them room to grow, gain new experiences and become a dynamic force in our novels that readers fall in love with.

Go ahead. Take a dare.

Let your characters touch the butt.

And if you need help with your dialogue, Dory has excellent advice on that too.



First Names = Characters, You're in Trouble


If you're anything like me, you know quite well that the main purpose of middle names is so you can tell when you're REALLY in trouble. They are the default, "I'm warning you" setting for most parents.

I was reading a book the other day and realized that, in fiction, first names can have that same kind of stopping power. For slightly different reasons.

Let's look at some examples.

Dresden Files
Harry's love interest and partner in crime fighting is Karrin Murphy, affectionately known to him as "Murph" throughout most of the series. Only about twice a book, do we see a "Karrin" slipped in there, and it typically happens at points of high tension or character change. This shifts a little as the series goes on and they become closer, and because readers have been familiar with what I'll call the "First Name Rule" up until that point, the more frequent use of her name is a sign in itself of their growing relationship.

Fever Series
Karen Marie Moning does an excellent job of stoking the chemistry between her two main characters in part because of the names by which they know each other--Barrons and Ms. Lane. It only becomes "Jericho" and "Mac" in situations of life and death. The characters know it and react to it, and readers do too!

Clive Cussler's Dirk Pitt Books
This is another one where the two main characters, best friends, rarely think of each other by their first names (or, at least, rarely speak them out loud). If Al or Dirk do call each other directly by name, you know something's about to go down.

Castle
Okay, not a book...but still awesome! When they started calling each other "Rick" and "Kate," instead of "Castle" and "Beckett," it meant something and we all knew it. Even without any other hints.

How about you? Do you do this in your writing? Have you noticed it in your reading?

Characters of Inspiration

We all know writers can pull inspiration from just about anywhere, and movies are a great source.

Below, in no particular order, are some of the characters that have sparked my imagination repeatedly over the years:

           


How about you? Do you have any favorites?

What Makes You Love a Character?


You know that feeling you get when you find a new favorite character? He (or she) suddenly seems like an old friend. You know their strengths, their weaknesses and you love them anyway. You’re ready to stand up beside them and tell those bad guys, “Nuh uh, back off. You mess with this character, you mess with me.”

When does that happen? And what’s a realistic level of reader loyalty after the first book vs. several books into a series?

Harry Potter is maybe the best example of what I mean. After the first book, most of us were probably intrigued by the characters. We liked ‘em, we wanted to know more. But by the third and fourth books, we were stark raving fans (admit it). We were absolutely loyal to Harry, Ron, Hermione and the gang, and we championed their cause as ours.

Yet, it wouldn’t be realistic to expect that level of loyalty at the end of the first book. We’ve only been introduced to the characters at that point. We need time for them to grow on us.

As I’m working on my own series, I find myself wondering how to make that transition, how to make readers love a character a little more in the second book, third book and so on. My gut tells me it just happens naturally if we write dynamic, multi-faceted characters and put them in a variety of challenging situations to allow readers to discover how they react.

But, still, I’m curious.

What makes you latch on to a character? What makes you like them more as you read more? Is there a limit to what an author can accomplish in terms of reader loyalty toward characters in Book One alone?

Talk to Me, Goose

Have you ever worked yourself into a corner in your writing? We all do it. We write one of those great climax moments where everything is coming to a head, it’s working, it’s fitting, the tension is high and the stakes are out of this world. We know readers are going to perch on the edge of their seat, salivating with every page turn.

…except we’ve created SUCH a good climax we don’t actually know how to get our character out of it.

It doesn’t have to be the end either. I’ve had it happen at smaller plot points elsewhere in the book, too. But for whatever reason we get momentarily stuck. We realize we’re not exactly sure WHAT our characters will do next.

We can’t yet see the brilliant solution that (no doubt) will come to us in a flash of inspiration and make everything okay again. We start to doubt our skills as writers. What if we can’t make the plot work? What if we can’t get our characters out? What if it all falls apart?
At times like these, I think of Top Gun.

Yes, that’s right. Tom Cruise in all his serenading fly boy glory. Remember the last dogfight, when he’s scared to re-engage? Everyone’s screaming at him to do something! And he whispers, “Talk to me, Goose.”

Sometimes I feel like doing the same with my characters. Talk to me. I know you’ll figure this out. I just have to close my eyes, listen and let you show me the way. What’s your next move? C’mon, talk to me.

It feels strange to pause and wait for a fictional character to provide the clarity and guidance for our next scene…but sometimes that’s exactly what we need.

Have you ever had a “Talk to me, Goose” conversation with your characters?

And just for fun...


I Say Couch, You Say Chaise…

It’s funny how much we can tell about a person from their word choices for everyday items. Culture, upbringing, education. We get a totally different image about a person who calls a dress a frock vs. one who says gown.

We can use this technique to build deeper characters as well. It’s a fun game that’s sort of like word association.
    1. Pick an everyday item. Let’s use a pair of pants.
    2. Ask yourself how each of your characters would refer to that item, and write down the responses.

    3. Do the choices give better insight into your characters? Help with dialogue?
    Here's how it might play out with the pants example:

    Britches: Southern, rural, informal
    Trousers: More proper, possibly a business background.
    Fatigues: Army, military, lots of space for weapons and easy to run in
    Knickers: English, possibly a historical timeframe
    Dungarees: Rugged, adventurous, not as tight-laced as military
    Buckskins: Rural, back-to-nature, stealthy
    What's awesome is that I have characters who match some of these categories, and they really would use that specific word.

    Give it a try!

    Cinderella's Ball Was A Sting!



    I'm participating in the "What If?" Blogfest, hosted by the official heirs of the Grimm Brothers: Mark Koopmans, Leigh Covington, Cassie Mae and Morgan Shamy.

    Have you ever wondered what would happen if we swapped one tiny detail of our familiar, beloved fairytales? We get some incredible twists, that's what! I chose to join the "Best Plot Twist" group and decided to mess with the classic Cinderella.

    I got carried away with the story, so the first 300 words are the "official" blogfest entry. The rest is there in case you want to read on and see how it ends!

    Goodbye mild-mannered housemaid, hello smart suave undercover agent.

    Enjoy!

    What if Cinderella's Ball was a sting operation?

    In a cramped, nondescript office in mid-town, a screen flashed the pictures of two women. Below them, in thin black font, scrolled a warning: The Stepsisters – Wanted on Theft and Trafficking Charges.

    The room’s door burst open, and a pixie blonde in a dark suit strode in carrying a mop. “We got ‘em, Gus.” She tugged the hidden recording device from the mop’s handle and slapped it on the table in front of the wiry man monitoring the screens. “Ten years of sweeping floors and crawling through dusty air vents finally paid off. This is the evidence we needed.”

    “I don’t know, Elle. The Sisters are big names around here. Even with that tape you got, it’ll never stick. What we really need is a chance to catch them in the act.”

    “We have it.” Elle tapped the website she’d brought up on Gus’ computer. “Here.”

    “The Royal ball? Naw, too risky. The Prince is just an unwitting fall guy in the Sisters’ latest con. We can’t let this bounce back on him.”

    “What if we had someone on the inside? I lifted an invite from the Sisters’ mailbox today. All ladies of the house, it said. And I’m a lady.”

    Gus chortled.

    Elle ignored him. “We’ll set Jacques up as a potential buyer and get it on record. I know their weaknesses, and I’m telling you, we can nail them. Let me run the op.”

    Gus nodded thoughtfully. “Write it up. We’ll move tonight.”

    * * * * *

    300 words stop here

    * * * * *

    Three hours later, the unit’s make-up team had lengthened her pixie cut into the long tresses she wore undercover. This time, no dirt dulled their edges. The full skirt of her robin’s-egg dress disguised a wire and several guns. Oil-resistant elbow length gloves, compliments of Gus’ gadget collection, would mask any fingerprints in places she didn’t want to leave them. Gus handed her a pair of shoes, and she shot him a quizzical look. “These are glass.” In fact, they were exquisite.

    “It’s my latest camera design. We see what you see.”

    “Can’t you just give me a button?”

    “The shoes let me watch everywhere at once, even behind you while your back is turned.”

    She examined the pair. None of the electronics were visible to the naked eye. “Nice.”

    * * * * *

    Without the subtleties of the sting, the ball would have been utterly boring. Elle danced with a number of very eager, very vapid men before the Sisters made their appearance. “Finally,” she muttered when she spotted them on the verandah. She politely stepped away from her date. “Jacques, they’re moving toward you now. Let me know if you need me to intercept.”

    The ear pieces kept her in touch with Jacques, in position in the curtained balcony where they’d arranged for the meet to go down, and with Gus, in the tech van.

    “We’re set here,” Jacques said. “I can see them on approach. Gus, you getting this?”

    “Affirmative. We’re rolling.”

    “Hey, Elle.” Jacques again. “The Prince is wandering a little too close to our op zone here in the balcony. Can you steer him away?”

    “Moving now.” She caught sight of the Prince’s royal suitcoat through the crowds and headed toward it. He was already halfway up the main stairs. “Excuse me.” She touched his elbow, making her voice coy. “Aren’t you the Prince?”

    A couple eyelash bats, and he was hers. She steered him back to the main ballroom and kept him there for three songs while Jacques made the deal with the Sisters. Compared to the others, the Prince was a decent dancer. He kept up a steady stream of interested conversation, and she almost felt bad that her attention was on the voices in her ear instead.

    She carefully angled their latest waltz turn to get a better view of the balcony. It was empty. Too late, she realized the Sisters were heading back to the main floor. Close enough to spot her. She spun away from the Prince and whispered, “Guys, we’re blown. We’ve got the evidence. Get out now. I’ll ditch the Prince and meet Jacques at the car.”

    “We still need eyes on that building, Elle. If anyone walks out with the artwork Jacques fronted—”

    “On it.” She turned back and threw a hurried curtsey in the Prince’s direction. “I’m so very sorry. I must go.”

    “Wait” He stepped after her. “I simply must know who you are!”

    The Sisters were on the move. And Gus still needed eyes. Elle ran for the main entrance, weaving through the crowd and ignoring the Prince’s calls behind her. Just outside the entrance, at the top of the grand outside stairs, she smoothly stepped out of one glass slipper without losing pace. “Good enough vantage for you, Gus?”

    “Perfect, I can see all the exit points. Now, get your ass back to the car.”

    The car was a sleek silver beauty, all muscle and curves. It made get-aways a dream. The Stepsisters fired a couple shots in vain as she ducked in, and Jacques gunned it. Within minutes, she was back in the tech van with Gus, doing final op clean-up. And no one at the ball was the wiser. Elle shed the dress and undid her hair extensions.

    “Check this out.” Gus’ voice called from the front of the van.

    “What?” She hopped into the legs of her suit pants as Gus tapped the surveillance screen.

    “Your Prince came out on the steps looking for you. He’s gonna get himself into trouble if he doesn’t stop sticking his nose around.”

    Sure enough, there he stood, shadowed by Palace Security as usual.

    “Oh, for Pete’s sake,” Elle said. “I’ll handle this.” She climbed down from the van, skirted the next block to avoid drawing attention to their recon location and walked up to Palace Security, flashing her badge. “I’ll take it from here, pal.” She turned to address the Prince. “What seems to be the problem, sir?”

    “There was a shoot-out on our steps. That woman I was dancing with…I think they kidnapped her.”

    She barely stifled a snort, but no recognition flared in his eyes. That was good. Yeah, I look different out of a dress, don’t I, bub? “A shoot out, sir? That would be highly unusual on the palace steps, wouldn’t it?”

    “Well, yes…but they were right there. A man and a woman fighting two others. And there was this car. Like a tricked-out silver car you see in movies.”

    In the background, the clock struck midnight.

    “Sir, I can assure you there were no shots fired. There was no car of that kind.”

    “B-but, I saw it. It drove right there and slowed down. I’ll show you.”

    Elle turned where his finger pointed and hid a smile. The curbside and the field beyond were empty now, of course. Jacques had taken the ride back to HQ. Only a few animals remained scrounging for food along the gutter.

    “Those are mice, sir. They’re eating a pumpkin.”


    Drought!



    Droughts can be powerful things. As usual, I started thinking about how we can use that in writing. What different types of droughts can we put our characters through or use in our plots?

    The Classic Drought
    This is a great one to use for epic worldbuilding. No rain means the crops fail, people start to go hungry. Are your characters the ones searching for food? Or the ones in charge of supplying it? Will previously warring nations have to negotiate a truce to ensure the food supply in the face of this natural disaster? Is there a fantasy component that can somehow bring the hope of rain? If you have a battle going on in the heat and drought, it brings in all sorts of challenges.

    The Emotional Drought
    Okay, yes, you can interpret this one in the strict romantic sense about – ahem – being in a dry spell. But it can also mean isolation, lack of friendship or the loss of a loved one. Sometimes, the emotion is still there, but it can’t be acted upon because of distance or a bishop's terrible curse.
    

    The Skills Drought
    This is another good one for fantasy writers. It happens when the main character’s magical talent runs dry. Maybe she has a mental block. Maybe daddy disowned him and tossed him out of the realm of demi-gods. Either way, it’s fun to see how your characters solve problems when they’re forced to do it without their greatest tool. It also creates an interesting dynamic with secondary characters. Will they stick with your hero, now that he or she is “human?” Or will they flee to a higher power?


    The Rain!
    Droughts in writing pack a double punch for readers. You pull them in through the trials of the drought, make them wonder how the characters will make it through, and then…just when things seem darkest…you bring in the rain for a swelling triumphant finish!



    Now, if only someone could cue the rainclouds over my house.

    How have you used droughts in your writing?

    Characters in Flux: Making ‘em Multi-dimensional

    Creating multi-dimensional characters is all about change. Think about yourself at this time last year. Were you the same as you are now?

    Let’s hope not.

    You’ve probably had countless experiences since then that have changed you, forced you to grow, taught you new lessons and, perhaps, left you a little wiser.

    Writing good believable characters is less about making them good or bad, and more about making them real, personable and believable. We all have faults. We all have things we wish we hadn’t said or actions we wish we could do differently. But we also have really kick-ass shining moments and times where we rose to the occasion more than we thought we could.

    Your job as a writer is to push your characters toward bigger and bigger moments of change. Note: This is very different than pushing them toward moments of big action, which is also important. The Moment of Action might be the big battle in the war. The Moment of Change is a split-second battlefield decision of life and death…and how your character lives with that decision in the quiet that comes after the battle itself.

    Everyone has a different method for getting to know their characters. I like asking questions. Here are some of the ones I’ve considered while daydreaming about my characters:
    • What has been your character’s most defining moment up to this point in life? How does it still affect him or her?
    • What would your character never do? How can you make them do that? What is the price?
    • What are your favorite aspects of your character?
    •  What are your least favorite aspects of your character? (Hint: You SHOULD have a list of these)
    • What are your character’s flaws?
    •  Find places for your character to make a mistake or be wrong about something. How do they react?


    Bransforumfest Wrap-Up

    Thanks to Sommer Leigh for the awesome retreat artwork!


    Hello again! I’m back from the desert and the slot machines, and all the great fellow Bransforumers I met out in Las Vegas.

    I wish all of you could have been there too! To give you a taste, here are some of the highlights:
    • The Meet Ups: It was a blast to meet everyone in person after knowing online personalities for so long. Nathan joined us for a bit, and we all walked down to watch the Bellagio Fountains – a great time! We also exchanged delicious Swag Bags, which you can see on Nathan’s blog here. Yum, yum – we had writing sustenance from each of our hometowns. Who could ask for more

    • Margo’s Dialogue Exercise: Change your dialogue to insults. (Yes, it’s as fun and crazy as it sounds). You don’t necessarily use the insult version, but it does a wonderful job of bringing forth whatever emotions are inherent in the scene. A very cool and challenging exercise that gave me a new perspective on what writers can do with dialogue if we truly push the envelope.

    • Claudie’s Character Session: We had an awesome chat about character arcs and how you can get to know your characters better. Are you an author who starts out knowing your characters or do you know your setting or plot and then search for the best character to tell the story? And, speaking of characters, Laura asked about developing multi-dimensional characters in the comments trail a few weeks back, so I’ll be doing a more detailed post on this next week.

    • My Editing Session: It was really interesting to learn about everyone’s individual editing processes and hear some of the common questions. Check out the packet of exercises and references I put together.

    • Our Crit Session: I loved our Bransforumfest crit group! We had five folks – me, Brenda, Sheila, Tricia and Caitlin, and we’d each read a combination of each other’s pages. We swapped feedback and snacks while 90+ mile-an-hour winds swirled sand and debris outside our 25th floor window. It was wild! And incredibly helpful. Thanks again to my fellow critters! I loved reading everyone’s pages. Really talented people with very thoughtful feedback.

    • Brenda’s Story Session: Sadly, I was on my return flight during this session, but I got a preview from Brenda during the character discussion. She used Larry Brooks' Four Act Story Structure to explain how writers can manage their story framework and plot.

    • THANK YOU! A huge thanks goes out to Sommer and Tricia for organizing this and really pulling it off. You guys rock!

    Creating Sympathetic Villains

    Villains are supposed to be the bad guys. The ones in dark swirling cloaks, riding black horses on stormy nights. Well, yes, technically. I’m all for creating mean, evil baddies.

    But, here’s the thing…cardboard villains are boring.

    The creepiest, most memorable bad guys are the ones who believe they’re in the right. The ones who are sympathetic in a “There but for the grace of God go I” kind of way.

    I’ve been watching the show Flashpoint lately, and it offers some great lessons on how to create this kind of sympathetic villain. The show follows members of a fictional SWAT team while they try to diffuse various hostage situations.

    As part of their job, the team must try to identify with and make connections with the “bad guy.” This gives them a very interesting perspective, and wonderfully deep and haunting villains.

    Let's look at a couple of examples:

    Villain #1: A young man holds up a restaurant he believes is a front for a terrorist cell. We find out later that he has paranoid schizophrenia and is actually being set up by his counselor, who wants revenge for the death of his wife. The tension builds because viewers feel this young man’s conflict and confusion. He truly thinks he’s saving lives with his actions; he thinks he’s honoring his counselor. Yet, we also see that he knows just how wrong it is that he’s pointing a gun at innocent people.

    One of the most powerful moments happens when the SWAT team calls the man’s father to let him know of the situation. The father, a nice elderly chap, clutches the phone to his chest and says in strained weary voice: “Oh no, what’s he done? Is-is he alive?”

    He knows his son is not well, he and his wife have spent their lives trying to get their son the best treatment. The viewer knows this man is devastated, that he feels responsible for his son’s actions, and that he’s truly worried for his “little boy.” At the end of the conversation, he pauses and says, “We-we still love him, you know. Even after this. Please get him out alive.”

    That simple human interaction — the fact that our villain has family or friends who love him — makes it all the more real.

    Villain #2: A drug-addicted mother is forced to put her toddler-age daughters in foster care while she serves her prison sentence. The judge tells her she’ll be reunited with them if they’re still in foster care after her 10-year sentence is done. The girls’ foster parents fall in love with them and decide to officially adopt them.

    No one thinks to inform Mom.

    When she’s finally released from prison, she’s turned her life around. She uses her small savings to buy a little apartment and fix up a room for the daughters she thinks she’s getting back. It’s clear she’s put a lot of time, love and care into decorating the room. Then, her parole office drops the bomb…her kids have been adopted…she’s not getting them back.

    So, she decides to kidnap them instead.

    Evil move, sure, but by this point, the viewer can almost understand where she’s coming from. Those kids have been her sole motivation for making it through a decade of prison. It would be a horrific situation to find out that your kids are no longer yours, especially when you’ve been told differently all along.

    After she kidnaps them, she takes them to their childhood home and gives them their old toys that she’s treasured all these years. While she’s clearly unstable and erratic, we also feel heartbroken for her as she’s sobbing that all she wants is to hold her children. Her moment of redemption comes when she realizes that in order to really love her daughters, she has to do what’s best for them (not her) and let them go.

    Yes, she’s the bad guy, but I think we can each see a little of ourselves in her.

    Besides its great characterization of villains, the thing I like best about Flashpoint is that it makes me ask: “What if it was me?” or “What if it was someone I know?” How would my sympathies shift?

    Let's ask ourselves that next time we’re writing about our bad guy.