It was during a very lonely time in my childhood that I discovered what makes memorable characters. Laura Ingalls was always there on my bookshelf, waiting to take me on another adventure. She never judged me or called me names. She cheered me up when I was sad, and for a time, I forgot all about being lonely and unhappy.
She was my friend.
Since then, the characters that strummed the deepest cord inside me have always managed to achieve some level of friendship. I felt that I knew them. What they looked like, their weaknesses and strengths.
But it wasn't until I started writing that I understood the power of this secret. Your readers should see your MC as their friend. It's why people get so annoyed when their characters are cast wrong in the movie. 'Cause, by dang, my friend doesn't look like that. Think about it. All people are lonely at some point. All of us want to reach out and connect with others. One of the easiest ways to do this is through a book.
As Disney says, "See a need, fill a need."
People want friends. Give them one. Figure out what kinds of things people value in their friends and you'll be a long way to creating characters that will resonate with them. They don't have to be perfect, but they do have to be someone an audience would want to know. For the next several hours, you're audience is going to go through an experience with your MC. At times, they'll almost wish they were your character (sound familiar to real life?). Your characters enemies will be your readers enemies.
The best part. Both your MC and your reader will *defeat* them (unlike real life).
Who are some of your "book friends?" Why?
To Write, Or Not To Write, A Sex Scene?
Sunday, July 26, 2009
There are so many things to consider in writing, or not writing, a sex scene (versus how to write a sex scene). Here's some things I've found helpful for me:
1. My characters morals are not necessarily my morals. But, like all writers, I can choose to bleep a scene when it gets too hot. (I write YA, and so I usually do).
2. Sex happens. Really. Not many people go through their entire lives as virgins. I write about characters in their late teens to early twenties--usually when the virginity thing . . . uh, goes away.
3. Sex happens, but so do consequences (having trouble coming up with any, think back to sophomore health class and all those nasty pictures). But don't stop there. Sex has emotion impacts on people. It changes relationships, permanently. I have a responsibility to represent sex as it truly is.
4. Don't write a sex scene just to have one. Do you ever feel like an author tossed in a sex scene because sex sells instead of because the plot/character called for it?
What did I miss? What other issues come into play when deciding whether or not to write a sex scene?
1. My characters morals are not necessarily my morals. But, like all writers, I can choose to bleep a scene when it gets too hot. (I write YA, and so I usually do).
2. Sex happens. Really. Not many people go through their entire lives as virgins. I write about characters in their late teens to early twenties--usually when the virginity thing . . . uh, goes away.
3. Sex happens, but so do consequences (having trouble coming up with any, think back to sophomore health class and all those nasty pictures). But don't stop there. Sex has emotion impacts on people. It changes relationships, permanently. I have a responsibility to represent sex as it truly is.
4. Don't write a sex scene just to have one. Do you ever feel like an author tossed in a sex scene because sex sells instead of because the plot/character called for it?
What did I miss? What other issues come into play when deciding whether or not to write a sex scene?
How to Find the Perfect Critique Partners
Friday, July 24, 2009
Don't have one?
Get one.
Or two or three. Seriously, every good writer needs other writers to look over their work.
So, how do you get critique partners? Their are writing groups open to any new members. This is a great way to start. However, eventually, your going to outgrow an open crit group. When that happens, you can start your own "invite only" group, or hope you are invited to one.
At this point, it might be important to distinguish the difference between critique partners and critique groups. A critique partner will usually look at larger amounts of your work at their homes, while you bring a small amount to read out loud at groups. With my partners, we will either swipe an entire book, or a selected amount of pages, say 25. I've learned from past experience, that when trying out a new partner, start small. That way you don't end up with something you can't edit, whether because of taste or writing level issues.
Good partnerships work well when both partners are:
1. On a similar writing level. If their is a wide dichotomy, one person will feel like they don't get what they give. That's great, however, for the less experienced writer.
2. Have similar outputs. It's frustrating when you write 25 pages every week, and your partner takes 6 months.
3. Enjoy each other's writing. I added this after a comment from Stephanie (poor girl). Seriously, if you can't stand a person's writing, you probably shouldn't be editing it--if that person is in your critique group . . . well, I agree with Thumper, "if you can't say somethin' nice, don't say nothin' at all."
I'm lucky in writing partners. I work with published authors: Marion Jensen w/a Mathew Buckley, Janet Jensen, journalist JoLynne Lyon, and Cami Checketts.
Speaking of Cami, she and I worked on her book, Sister Pact, together. So, here's a shameless plug for my friend:
After a tragic fall leaves her sister in a coma, Savannah becomes the prime suspect in the investigation. Desperately hoping to prove her innocence, she convinces detective Noah Shumway to stay by her side at all times. But the close quarters prove too much for them to handle. Can Savannah find the proof she needs to show Noah she's not a monster? And how can she rely on her faith and keep her family safe when it seems all hope is lost? The Sister Pact is a thrilling story of action, suspense, and love. Full of unexpected twists, this book will keep you guessing until the very last page.
Buy her book!
Get one.
Or two or three. Seriously, every good writer needs other writers to look over their work.
So, how do you get critique partners? Their are writing groups open to any new members. This is a great way to start. However, eventually, your going to outgrow an open crit group. When that happens, you can start your own "invite only" group, or hope you are invited to one.
At this point, it might be important to distinguish the difference between critique partners and critique groups. A critique partner will usually look at larger amounts of your work at their homes, while you bring a small amount to read out loud at groups. With my partners, we will either swipe an entire book, or a selected amount of pages, say 25. I've learned from past experience, that when trying out a new partner, start small. That way you don't end up with something you can't edit, whether because of taste or writing level issues.
Good partnerships work well when both partners are:
1. On a similar writing level. If their is a wide dichotomy, one person will feel like they don't get what they give. That's great, however, for the less experienced writer.
2. Have similar outputs. It's frustrating when you write 25 pages every week, and your partner takes 6 months.
3. Enjoy each other's writing. I added this after a comment from Stephanie (poor girl). Seriously, if you can't stand a person's writing, you probably shouldn't be editing it--if that person is in your critique group . . . well, I agree with Thumper, "if you can't say somethin' nice, don't say nothin' at all."
I'm lucky in writing partners. I work with published authors: Marion Jensen w/a Mathew Buckley, Janet Jensen, journalist JoLynne Lyon, and Cami Checketts.
Speaking of Cami, she and I worked on her book, Sister Pact, together. So, here's a shameless plug for my friend:
After a tragic fall leaves her sister in a coma, Savannah becomes the prime suspect in the investigation. Desperately hoping to prove her innocence, she convinces detective Noah Shumway to stay by her side at all times. But the close quarters prove too much for them to handle. Can Savannah find the proof she needs to show Noah she's not a monster? And how can she rely on her faith and keep her family safe when it seems all hope is lost? The Sister Pact is a thrilling story of action, suspense, and love. Full of unexpected twists, this book will keep you guessing until the very last page.
Buy her book!
One Phrase you never Want to Hear From You Seven-year old
Saturday, July 18, 2009
In case you're wondering what I've been up to lately . . .
But seriously, I'm cutting back my posts to once a week.
If my baby isn't enough, perhaps the following story will convince you.
It was a phrase every mother dreads hearing. Unfortunately, it was delivered in an unusual way.
Dancing from one foot to the next, my seven-year old wrings his hands. "Um, Mom. I think maybe there's been a fire."
"What!" I roar. "Where!"
"In my room."
Silently cursing our multilevel house, I rush down three flights of stairs. In his room, I find black soot dripping from the walls--evidence of an obvious clean up. The outlet is smeared black.
I let out a silent sigh of relief and round on said seven-year old. "What did you do?"
The dancing and hand twisting began again. "Um, I was, like, playing with my dog-tag chain, and it, um, flew through the air and landed on the metal thingies that go in their." He points at the outlet, where a prongs stuck halfway out like a petulant child sticking out it's tongue.
"And the chain just happened to land on the prongs that just happened to be sticking out?"
We played this back and forth game a few more times before he finally told me the truth. With a big sigh, he began, "You know when R2D2 breaks the chain with his shock thingy, I wanted to see if I could break my chain with the electricity from the house."
George Lucas, sometimes I'd like to strangle you! Suppressing an eye roll, I proceeded to ground my son from everything Star Wars for a week.
So you see, unless I want my house burned down, I better be more vigilant.
Adding tension
Monday, July 13, 2009
In a previous post, I showed you a sentence: Rocks and boulders circled the pool. But how can I add tension to the scene? Well, let me break it down for you:
My character (Daughter of Winter) is pinned between the villain and a cliff. It's a tense moment, but how do I convey that though showing? Well, read this section first, and then I'll break down what I've done.
The river narrowed and deepened. The air was thick and heavy with the smell of the water. With a sense of foreboding, she climbed up the bald expanse of a flat boulder and looked down. A waterfall crashed down a steep cliff before hurtling into a deep pool. Rocks and boulders ringed the pool like the teeth of a hungry maw. She looked from one side to the other. The cliffs went on for leagues in either direction. She had nowhere to go. The dogs were very close now.
She stared at the base, her whole body screaming to live.
The dogs crashing through the trees, baying happily when they found her. She turned, and saw Darrien astride his gelding. It surprised her that he was alone. What would he do to her?
He rubbed the back of his head, where she’d clobbered him. “That will cost you.”
Everything. He was going to take everything she held dear. By the time he was finished, she wouldn’t be Ilyenna anymore. Instead, all that remained would be a hallowed out husk. If she didn’t bend to him, he would destroy her clanswomen. Only one choice remained for her now. She peeked over the edge and looked down, down, down. She felt dizzy and disoriented. Would it hurt?
His voice softened. “Come here, now.” Understanding had dawned on Darrien’s face.
She grunted. In this only, had she any modicum of control. She closed her eyes. But she couldn’t bring herself to jump. Drawing every ounce of courage, she inched backward. You’re the clanmistress. You protect your clan. No matter the cost. With each minuscule step, she expected to feel nothing but open air beneath her.
“Ilyenna, no!” She gasped out the breath she had been holding. Rone came crashing through the trees—his face white with fear and exertion.
Her heart squeezed violently within her, flooding her whole body with a burst of blood. Why couldn’t he have loved her?
He paused before her, his hand outstretched. “Come with me, Ilyenna.”
She shook her head violently, tendrils of her damp hair swaying. “I can’t, you know that Rone. I have to protect them. Protect myself.”
“We’ll find another way.”
Duty. Honor. She smiled at him, gently, trying to ease his pain. If she didn’t do it now, she might lose her courage forever. “There is no other way.” She stepped back, and this time, her foot caught nothing but empty air. She pushed off. Rone reached for her, his face twisting in despair. She heard his scream as she fell. Her heart plunged in her throat as she watched the ground rush up to meet her.
In this scene, I really have three major conflicts going on at one: Ilyenna's internal conflict--to protect her people, she believes she must kill herself; her external conflict with the villain; her conflict with her love interest.
red=descriptions
blue=tension building words or phrases
green=conflict (internal or external) note that conflict builds tension, but my purpose here is better served if they are separate.
The river narrowed and deepened. The air was thick and heavy with the smell of the water. With a sense of foreboding, she climbed up the bald expanse of a flat boulder and peered over the edge. A waterfall hurtled into a deep pool. Rocks and boulders ringed the pool like the teeth of a hungry maw--anytime you can make a description dangerous, you kill two birds with one stone. She looked from one side to the other. The cliffs went on for leagues in either direction. She had nowhere to go. The dogs were very close now.
She stared at the base, her whole body screaming to live. --setting this sentence apart gives it extra emphasis
The dogs crashed through the trees, baying happily (this adds a sharp contrast to the deadly scene) when they found her. She turned, and saw Darrien astride his gelding. It surprised her that he was alone. What would he do to her?
He rubbed the back of his head, where she’d clobbered him. “That will cost you.”
Everything.--see how I'm mixing up my sentence lengths? Putting a sentence in it's own paragraph, or it's own sentence, gives it special emphasis. When the tension is really fast, my sentences are shorter.-- He was going to take everything she held dear. By the time he was finished, she wouldn’t be Ilyenna anymore. Instead, all that remained would be a hallowed out husk. If she didn’t bend to him, he would destroy her clanswomen. Only one choice remained for her now. She peeked over the edge and looked down, down, down. She felt dizzy and disoriented. Would it hurt?--adding the characters thoughts also gives variety and sets it apart.
His voice softened. “Come here, now.” Understanding had dawned on Darrien’s face.
She grunted. In this only, had she any modicum of control. She closed her eyes. But she couldn’t bring herself to jump. Drawing every ounce of courage, she inched backward. You’re the clanmistress. You protect your clan. No matter the cost. With each minuscule step, she expected to feel nothing but open air beneath her. --see how I'm dragging out the tension? Just like in real life, time slows during tense situations (actually, we speed up, but that's irrelevant).
“Ilyenna, no!” She gasped out the breath she had been holding. Rone stumbled through the trees—his face white with fear and exertion. --I'm building the tension by adding another conflict.
Her heart squeezed violently within her, flooding her whole body with a burst of blood. Why couldn’t he have loved her?
He paused before her, his hand outstretched. “Come with me, Ilyenna.”
She shook her head, tendrils of her damp hair swaying. “I can’t, you know that Rone. I have to protect them. Protect myself.”
“We’ll find another way.”
Duty. Honor. She smiled at him, gently (again, the word gently contrasts with the severity of the scene), trying to ease his pain. If she didn’t do it now, she might lose her courage forever. “There is no other way.” She stepped back, and this time, her foot caught nothing but empty air. She pushed off. Rone reached for her, his face twisting in despair. She heard his scream as she fell. Her heart plunged in her throat as she watched the ground rush up to meet her.
Whaddya think? How'd I do?
My character (Daughter of Winter) is pinned between the villain and a cliff. It's a tense moment, but how do I convey that though showing? Well, read this section first, and then I'll break down what I've done.
The river narrowed and deepened. The air was thick and heavy with the smell of the water. With a sense of foreboding, she climbed up the bald expanse of a flat boulder and looked down. A waterfall crashed down a steep cliff before hurtling into a deep pool. Rocks and boulders ringed the pool like the teeth of a hungry maw. She looked from one side to the other. The cliffs went on for leagues in either direction. She had nowhere to go. The dogs were very close now.
She stared at the base, her whole body screaming to live.
The dogs crashing through the trees, baying happily when they found her. She turned, and saw Darrien astride his gelding. It surprised her that he was alone. What would he do to her?
He rubbed the back of his head, where she’d clobbered him. “That will cost you.”
Everything. He was going to take everything she held dear. By the time he was finished, she wouldn’t be Ilyenna anymore. Instead, all that remained would be a hallowed out husk. If she didn’t bend to him, he would destroy her clanswomen. Only one choice remained for her now. She peeked over the edge and looked down, down, down. She felt dizzy and disoriented. Would it hurt?
His voice softened. “Come here, now.” Understanding had dawned on Darrien’s face.
She grunted. In this only, had she any modicum of control. She closed her eyes. But she couldn’t bring herself to jump. Drawing every ounce of courage, she inched backward. You’re the clanmistress. You protect your clan. No matter the cost. With each minuscule step, she expected to feel nothing but open air beneath her.
“Ilyenna, no!” She gasped out the breath she had been holding. Rone came crashing through the trees—his face white with fear and exertion.
Her heart squeezed violently within her, flooding her whole body with a burst of blood. Why couldn’t he have loved her?
He paused before her, his hand outstretched. “Come with me, Ilyenna.”
She shook her head violently, tendrils of her damp hair swaying. “I can’t, you know that Rone. I have to protect them. Protect myself.”
“We’ll find another way.”
Duty. Honor. She smiled at him, gently, trying to ease his pain. If she didn’t do it now, she might lose her courage forever. “There is no other way.” She stepped back, and this time, her foot caught nothing but empty air. She pushed off. Rone reached for her, his face twisting in despair. She heard his scream as she fell. Her heart plunged in her throat as she watched the ground rush up to meet her.
In this scene, I really have three major conflicts going on at one: Ilyenna's internal conflict--to protect her people, she believes she must kill herself; her external conflict with the villain; her conflict with her love interest.
red=descriptions
blue=tension building words or phrases
green=conflict (internal or external) note that conflict builds tension, but my purpose here is better served if they are separate.
The river narrowed and deepened. The air was thick and heavy with the smell of the water. With a sense of foreboding, she climbed up the bald expanse of a flat boulder and peered over the edge. A waterfall hurtled into a deep pool. Rocks and boulders ringed the pool like the teeth of a hungry maw--anytime you can make a description dangerous, you kill two birds with one stone. She looked from one side to the other. The cliffs went on for leagues in either direction. She had nowhere to go. The dogs were very close now.
She stared at the base, her whole body screaming to live. --setting this sentence apart gives it extra emphasis
The dogs crashed through the trees, baying happily (this adds a sharp contrast to the deadly scene) when they found her. She turned, and saw Darrien astride his gelding. It surprised her that he was alone. What would he do to her?
He rubbed the back of his head, where she’d clobbered him. “That will cost you.”
Everything.--see how I'm mixing up my sentence lengths? Putting a sentence in it's own paragraph, or it's own sentence, gives it special emphasis. When the tension is really fast, my sentences are shorter.-- He was going to take everything she held dear. By the time he was finished, she wouldn’t be Ilyenna anymore. Instead, all that remained would be a hallowed out husk. If she didn’t bend to him, he would destroy her clanswomen. Only one choice remained for her now. She peeked over the edge and looked down, down, down. She felt dizzy and disoriented. Would it hurt?--adding the characters thoughts also gives variety and sets it apart.
His voice softened. “Come here, now.” Understanding had dawned on Darrien’s face.
She grunted. In this only, had she any modicum of control. She closed her eyes. But she couldn’t bring herself to jump. Drawing every ounce of courage, she inched backward. You’re the clanmistress. You protect your clan. No matter the cost. With each minuscule step, she expected to feel nothing but open air beneath her. --see how I'm dragging out the tension? Just like in real life, time slows during tense situations (actually, we speed up, but that's irrelevant).
“Ilyenna, no!” She gasped out the breath she had been holding. Rone stumbled through the trees—his face white with fear and exertion. --I'm building the tension by adding another conflict.
Her heart squeezed violently within her, flooding her whole body with a burst of blood. Why couldn’t he have loved her?
He paused before her, his hand outstretched. “Come with me, Ilyenna.”
She shook her head, tendrils of her damp hair swaying. “I can’t, you know that Rone. I have to protect them. Protect myself.”
“We’ll find another way.”
Duty. Honor. She smiled at him, gently (again, the word gently contrasts with the severity of the scene), trying to ease his pain. If she didn’t do it now, she might lose her courage forever. “There is no other way.” She stepped back, and this time, her foot caught nothing but empty air. She pushed off. Rone reached for her, his face twisting in despair. She heard his scream as she fell. Her heart plunged in her throat as she watched the ground rush up to meet her.
Whaddya think? How'd I do?
Favorite Villains
Wednesday, July 8, 2009
What makes the best villains?
The answer will vary a bit depending on what draws you. So pick your favorite villain. Mine is the Phantom in The Phantom of the Opera. Here's the top things that draw me to him:
1. Conflicting emotions. I'm actually attracted to the Phantom, and at the same time, repulsed. At points, I want him to win the girl. At others, I don't. But always, I have sympathy for why he does the things he does.
2. A sense of mystery. A good villain keeps me guessing at the beginning. I'm not sure if the Phantom is a good guy or a bad guy. At the end, I'm still not sure.
3. A sense of understanding. I feel sorry for the Phantom. He's had a hard life, but he's made the most of it. Then he falls in love. And wouldn't you know it, his love falls for the rich, popular boy.
My second favorite villain is one of my own creation. His name is Zacar. He's the 3rd wheel in a love triangle with my main character. What I crave about him is how hard he's trying to break away from his past, and especially his evil father, but it seems no matter how hard he tries, he can never break free.
You root for him. You have sympathy for him. You ache for him.
So, who's your favorite villain. Why?
The answer will vary a bit depending on what draws you. So pick your favorite villain. Mine is the Phantom in The Phantom of the Opera. Here's the top things that draw me to him:
1. Conflicting emotions. I'm actually attracted to the Phantom, and at the same time, repulsed. At points, I want him to win the girl. At others, I don't. But always, I have sympathy for why he does the things he does.
2. A sense of mystery. A good villain keeps me guessing at the beginning. I'm not sure if the Phantom is a good guy or a bad guy. At the end, I'm still not sure.
3. A sense of understanding. I feel sorry for the Phantom. He's had a hard life, but he's made the most of it. Then he falls in love. And wouldn't you know it, his love falls for the rich, popular boy.
My second favorite villain is one of my own creation. His name is Zacar. He's the 3rd wheel in a love triangle with my main character. What I crave about him is how hard he's trying to break away from his past, and especially his evil father, but it seems no matter how hard he tries, he can never break free.
You root for him. You have sympathy for him. You ache for him.
So, who's your favorite villain. Why?
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