My Invisible Friends

So while working on the sequel to THE BINDING STONE I may or may not have had the following conversation with one of the characters:

Me: This is hard. Sometimes I wish I had a little Djinn Magic so I could make it perfect with ease.

Taj: I could fix it for you. Of course then I'd be the hero.

Me: You are the hero in this one. 

Taj: Of course I am. So what's so hard then? Having trouble describing me? How about, Tall, muscular, godlike...

Me: Yeah, um, too many adjectives. Look, I hate to tell you this, but I'm going to have to put you through the proverbial ringer. 

Taj: I doubt your readers will like that. They want to see more interesting things. Things like, me saving the helpless, me outsmarting everyone else, me naked. 

Me: *blanches* Excuse me? This isn't all about you being perfect. 

Taj: Isn't everything? Here. I'll write the book. *shoves me out of chair* *cracks knuckles* 

Me: If you have your way it's going to be a very short and very boring book. 

Taj: Ouch.

Me: Taj I really have to get to work. Isn't there something else you can do?

Taj: Come on. You know you want me to grant you a wish. 

Me: How about a bottomless cup of coffee that never gets cold? 

Taj: That depends. How do you describe me in the book? 

Me: I can see that I need to banish more than my inner editor if I'm going to get this done. 

Do your characters ever bother you? Do they insist on certain things? Do you have trouble torturing them? Don't. Because that's what makes a good book!

Supporting Your Supporting Characters

Are each one of your cast of characters real? They should be. Yes, even the guy in the restaurant who spills his soup on your MC and is never seen again. (Though I may argue another time that it should actually be another character instead that IS used again, that's not today's post) 

How? How do you round out all those people when you have limited space and you're expected to not only fill in world, your MC's ARC, and plot, but make sure every word pushes us forward?

Step 1

• Make sure YOU know everything about that person. Do you do character sheets for your main characters? Do one for everybody! They're fun no matter what. You should at least know why that person is present, what they want, and what they will do to get it. Is the guy at the restaurant solely to spill soup on our MC? I don't know about you, but that's not why I go out to eat! Maybe he's nervously awaiting his blind date. Maybe he's distracting the waiter on purpose so he can dine and ditch. IDK, but you should! 

Step 2

• Knowing what you know about that character, how might she react if our MC impedes on HER plans? Let me give you an example. In the case of our soup spiller, perhaps he sees the woman of his dreams walk in and that's when he knocks the soup onto our poor, unsuspecting MC. Now everyone's staring, including the horrified woman. Here's another; I've been working on a WIP where one of the side characters has a crush on my MC. I just wrote a scene where she makes a self-depricating remark, which kind of came out of nowhere. My MC didn't get it. He's oblivious, but it really stung me when it happened, and I thought, 'good, if I feel for her, then maybe others will too.' I think I will keep it because not only does it demonstrate her character and make her more real, it also gives us a chance to see something about the MC (Mr. Clueless).

Step 3

• If this character appears again later, how can you round out her ARC in a way that intercepts the plot or our MC's character ARC? Will my MC later get a chance to make amends with this character? If the rest goes as I think it will then yes. Perhaps the man who spills the soup while waiting for his date will open the door for our MC later, only to chase after the girl and let it swing closed. But maybe this time our MC will catch it instead of letting it hit him in the nose. He he. 

Step 4

• Don't forget to let us in on little details that help us see the person as real. Does the soup guy keep adjusting his bow tie? Or tap his leg in a way that annoys our MC? 

Every word has a purpose. Every action has a purpose. And every character has a purpose. 

Other tips for rounding out characters? Share!

Jeremy Glass Stops By to Shoot the Breeze

Today I am SO EXCITED to have with me the MC from the new novel BREAKING GLASS. I have been looking forward to this book for ages. Not only is it by the AMAZING Lisa Amowitz, who designed the gorgeous covers for THE BINDING STONE and BREAKING GLASS, but it also has a kick-ass premise AND is from a guy's POV, which I love. 

Here's the blurb from Goodreads:

On the night seventeen-year-old Jeremy Glass winds up in the hospital with a broken leg and a blood alcohol level well above the legal limit, his secret crush, Susannah, disappears. When he begins receiving messages from her from beyond the grave, hes not sure whether they're real or if he's losing his grip on reality. Clue by clue, he gets closer to unraveling the mystery, and soon realizes he must discover the truth or become the next victim himself.

Awesome, right?

Before I gush anymore here's Jeremy!

Hey. I’m Jeremy. I’m not really sure why any of you are interested in the ravings of a run-of-the-mill history geek like me, but suit yourselves. I can chew the fat with the best of them.

I’ve spent the last four or so years of my life dwelling on a single individual named Susannah Durban. I’m not going to go too deep into specifics, but there was just something about her. Maybe it was her smile. Or her leaf green eyes. Or her insane creative genius. I don’t know. But when I was around her, it took all my will not to fling myself at her. I promise you—I did not. My self-control is amazing. I’m known for that, actually.

The problem is, Susannah never considered me to be anything more than steady old Jeremy Glass, trusty best friend-in-chief, the oaf who was happy enough just to breathe in the her perfume while said best friend hooked up with anything that moved. On second thought, I really don’t want to talk about this, you know?

I’d also rather not talk about what happened the night Susannah disappeared or what I did to get her back. Forget that. I think instead I will regale you with trivia, my specialty. In honor of my epic crush, the theme will be unrequited love. I’m citing my sources so you don’t get into trouble. I think I’ve caused people enough grief. So here goes:

The term “love” is from the Sanskrit lubhyati, meaning “desire.”
“Love.” Online Etymological Dictionary

“Love” in the sense of “no score” in tennis dates to 1792 and means “playing for love” or, in other words, playing for nothing.

TennisHistoryOnline.com. "Love."

Studies show that the risk of a “secret love” being revealed heightens romantic feelings for the partners, thanks to increased levels of phenylethylamine (PEA)

2004. Why We Love: The Nature and Chemistry of Romantic Love. New York, NY: Henry Hold and Company, LLC.

There you have it. I’m much more comfortable with useless facts than stuff I’d rather not talk about. So if you want more trivia, let me know—I’m an endless font of garbage information. If you want to know how I actually feel, you’re going to have to work a little harder to pry that out of me.

See ya!

Jeremy

It's All About Character

Yes, yes, I know, plot is important too. But think about it, why are the popular books popular? Because the readers identify with the hero. Is the hero a vampire, hobbit, or alien? Could be. But that doesn't mean we can't identify. 

No matter what world your story is set in, no matter what situation your character is in, it is the thoughts, feelings, and interactions with others that make the story worth investing time in. Take HP for example. Yes it would be awesome to discover we have wizard powers and can go to Hogwarts, but it's the relationships between Harry and the others that keep us reading. It's wanting to see this likable kid who's had a bad time of it come out on top. 

Can we the readers identify with Harry? Of course! Are we wizards? Did we grow up in a broom cupboard under the stairs? Probably not, but we've sure been the odd man out at times. We know what it's like to be the underdog or feel inadequate or awkward, right? 

When you write, you have to draw on those experiences and emotions you've experienced. Even if say, you're MC happens to be a leprechaun and is facing his worst fear - a wild unicorn, take that time you were five and the giant doberman next door got loose and ran right for you. Then just... extrapolate! That's why we're writers after all. ;D

What identifiable traits does your current MC have? Which MC have you fallen in love with and was it because you were ale to live vicariously and identify? 

Unreliable Narrators

First of all, congratulations to the winner of VANQUISHED: Nikkihasabookshelf!

Amy asked a couple of weeks ago to see a post on unreliable narrators and I thought that was a great idea.

First we need to understand what an unreliable narrator is. Does that mean the MC lies? Well, it can. But it can mean more than that as well. No matter who is telling a story, his own perceptions, memories, and feelings will influence what he recalls or even if he recalls what actually happened. So as a writer when I write in first person, I have to find the character's voice and experience everything from her perspective.

What am I saying? Character is everything in this situation. That and filtering through the character's eyes. If your MC is conceited, for example, a great way to show that is to have her make an obviously neutral situation all about her. 

But if you're writing a story that needs an unreliable narrator for plot purposes here are some rules to remember:

• Don't keep vital information from your readers. That will only frustrate them. That doesn't mean you have to spill everything up front, but don't deliberately keep them out of the loop just so you can surprise them later. Plant clues by making it clear that the narrator may not be trustworthy. Drip in the real info like you do backstory.
• Stay true to your character. Don't take a truthful MC and suddenly have her lie for no good reason just because you need a way to do something. It's true characters can do surprising things, but if you've done a good job getting into his head, you will also have planted enough info that makes that unconventional act/decision natural and understandable to the reader.
• Have fun! Unreliable narrators can be a blast to write. It's a great opportunity to exercise that illusive voice. In fact, it's not a bad idea to go ahead and practice just for an exercise. Who knows? Maybe you'll end up falling in love and writing a whole book. ;D

Any other tips? Examples? Share!!

You Aren't That Interesting

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Before I start - if you'd like to win a $15 Amazon gift card visit Journey's of Wonder.


Now to the post! I know a young lady going to USC this fall for Screenwriting. She shared the title of one her potential classes with me and not only did it crack me up, it made me think. So here's my take on the term: Just because it happened to you doesn't make it interesting. 


We hear all the time the advice, write what you know. But that doesn't mean a literal recounting of your life. Well, I suppose there are a lucky few who've been through some pretty amazing stuff. But the vast majority of people... not so much. 


What it DOES mean is that we've all experienced similar emotions. Whether it was from losing a loved one, or your goldfish when you were six, you experienced something called grief. It's that feeling that you have to capture. The situation you can extrapolate. But the visceral reaction that underlies it, that's what you want to evoke. If you can do that to the reader, then you've made a connection that means everything. How? Well, NOT by revisiting your own life in detail. Instead truly understand your character and put them in situations that will evoke those emotions. 


Doesn't that class sound fun though? That's my type of humor!

Unusual Habits

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My daughter has a habit of irritating her older brother by insisting that unicorns are real. It's something she loves because it bothers him so much. Most recently she's insisted that there's a unicorn that eats all of his socks (you know how they disappear). And it got me thinking...
One of the things that can make a character unique is adding a quirk. We're all a little odd, aren't we? I know I am. Some of those endearing (or not so endearing) idiosyncrasies can make an MC or supporting character - or even antagonist - jump to life. It has to fit though. It has to feel real. I totally believe that my daughter's unicorn could be sneaking around eating socks. :D Here let's use some actual examples, shall we?

• Hermione Granger can't resist getting questions right, even when it's inappropriate. Think of the Minister revealing Dumbledore's will. She can't help but mention the snitch's touch memory even though it may not be in their best interest. Or the slightly manic look she gets when planning the foray into the ministry that Harry associates with "revision". 
• (from my daughter) Avery in Charlotte's Web enjoys collecting weird objects. 
• President Snow in the Hunger Games will forever be associated with roses. When he left one behind in District 12 in Mockingjay, chills ran up my spine. 
• Hobbits in LOTR have "second breakfasts" a pastime that still makes me smile. 

What kind of quirks have you used for your characters? What are some of your favorites that you've read? Do you believe in sock munching unicorns?

Different Ways To See The Same Thing

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Time for a craft post! I love craft after all - especially concerning character development. I've talked before about writing through the eyes of your MC. But I want you all to consider for a moment the way your MC connects and interacts with your other characters. Of course each of these characters must be fully developed as well, you have to know them all. But what I'm talking about here is the relationship between characters.
The first thing you have to ask yourself if you want these relationships to come to life is, "How does this character view my MC?" Let's check out an example!
Let's go with Harry Potter on this one, shall we? There are too many characters to mention so we'll look at just a few key people. (See what I did there? They're so real they're people)

• Ron: Harry's BFF, he loves the guy and would lay down his life, but he also has some jealousy issues. He's constantly overshadowed by Harry after all, just like he was by his siblings growing up. 
• Snape: Wow. The whole complex mystery behind this character truly revolved around just this question, didn't it? Harry represented everything he wanted but couldn't have, meaning (spoiler alert) Lily Evans. And to make it worse, the woman he loved chose the man he despised most, his tormentor in school, who Harry happens to be the spitting image of. Except for those eyes. Lily's eyes must be a constant reminder to Snape of the mistake he made and the promise he lives to fulfill. Talk about complex and mixed feelings. 
• Mrs. Weasley: The mother Harry deserves. And indeed, she loves him as a son, to the point that she attempts to protect him when it's nearly impossible. She is his surrogate mother.
• Petunia: Lily's sister and Harry's aunt. Harry is a constant reminder of everything she wanted but was denied. Another case of jealousy, which is why Harry is treated so horribly by her entire family. 

Do you see what I'm doing here? It's like looking at motivation, but it has to be directly related to the MC. This defines the dialogue and the general interaction/choices that the characters make in relation to the MC and therefore the plot. 

One more example that we'll make up. Say we have a love triangle. Ouch! Pointy edges. The MC is a girl named... Julie. Her two boys are Sean, who has loved her from across the street for years, but scarred by his childhood he uses sarcasm to disguise his true feelings, and Carl, the hottest guy at school who sees her as his best arm candy. Now of course she doesn't know this, nor do we the readers at first. 

Two interactions:

Great, just what I need right now, Sean. I try to concentrate on my broken heel instead of the dark eyes that always penetrate my defenses. He's probably coming to gloat.

"You have a run in with a yetti at that dance?" He smirks and I resist the desire to smack him or burst into tears. 

"Yeah, that's exactly what happened. Why don't you go back to brooding in your room?"

His grin turns into a scowl. "Are you okay? Did he hurt you?" 

"Why? You want to give him a high five?"

Okay, now one with Carl:

"Nice performance in Lit."

I glance up from my Tuesday Special to find Carl Landers standing over me in all his ripped glory. Is he teasing me? No, his eyes crinkle in the corners and his smile... Oh wow. Don't drool, Julie.

"Thanks," is all I can muster.

He straddles the bench next to me. "I have a game this weekend."

As if a single person in this lunchroom wasn't aware of that.

"Are you going?"

I take a sip of water to wet my dry mouth. "I don't know. I hadn't thought about it much." 

"The school needs you there," he says. 

I narrow my eyes. "How do you figure?"

"Well, if you're there, in the front row, I'll play better and maybe we'll win Homecoming."

Now go write out your characters viewpoint of the MC and try writing a few practice scenes. 

Which Comes First? Character, World, or Plot?

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Which is more important? Certainly there are high concept books with soaring plot lines, and others that are more character driven. Still others captivate us with their world. But which one is more important? 


Did you guess? It's a trick question. They ALL are. The truth is Character, Plot and World are vital to an excellent book. Sure it can be good with one stronger than another, but we all want more than just "good" right? I look at it like a triangle. All corners have to be strong to maintain the shape. Many times a writer is inherently good at one area and that's wonderful! The others can grow strong during revisions. 


To prove my point, let's take a look at two extremely popular books and see what would happen without one of the corners. 

1. Harry Potter
• Plot - where can you find a more complex plot than the boy who lived, Horcruxes, Hallows, and the drive for immortality?
• Character - Even the supporting characters are unforgettable. Peeves? Fred and George? Luna? 
• World - An entire society complete with government (Ministry of Magic), school (Hogwarts), and creatures (dragons, goblins, etc.). It was so believable, many secretly hoped for an owl on their eleventh birthday.
• BUT what if one of these were missing? Would it be the same to visit Hogwarts with a generic student? Or to explore the halls with Harry without the threat of Voldemort or whatever mystery lurked in the shadows? No way!
2. The Hunger Games
• Plot - Children pitted to the death in an arena for sport. Need I say more?
• Character - A survivor built from the conditions the Capitol imposed on her. She protects her sister with her life, and is determined to succeed. The boy who loves her and would do anything to protect her. 
• World - the arena itself. The Capital. The districts.
• BUT what if Katniss played the games in an open field. Sure it would be frightening because of the other players, but it's nothing compared to the threat of dehydration, starvation, and fire driving her toward unwanted battle with the others. Or none of the other players being worth saving? We'd root for Katniss. But isn't it better to be torn because we know she, Peeta, and Rue can't all survive?

Do you see my point? The triangle must work in harmony, each piece being held firmly in place. Don't skimp or try to avoid working at one corner you think  you are weakest at! The whole thing could collapse. Instead, use revision to build, build, build until you have something truly unforgettable. 

Avoiding a Passive Beginning

S.P. Sipal asked: "How do I create a character whose story arc is to discover and own her inner power without making her come across as too passive in the beginning?"


Great question! The moment I read this one my mind went immediately to SHATTER ME by Tahereh Mafi. In SHATTER ME, Juliette begins in prison, completely broken, having been taught her whole life that she is an abomination. That could break anyone. But we follow Juliette on her journey as she learns to embrace her power and accept herself as a good person. 


Never once while reading this did I think to myself what a passive weakling Juliette was. Why? Here are a few things I noticed that Tahereh did to avoid that feeling:

1. Make the situation interesting. The circumstances are so unique and intriguing that the reader would want to know more no matter what the character was like. 
2. Make a multi-dimensional character. I know I harp on this a bit, but seriously! Your MC may be passive in some ways - but not in EVERY way. Juliette is broken when we meet her, but not entirely. We can still see glimpses of her core. And even if she doesn't realize it, we see that her concern for another human being trumps her self-pitying circumstances. 
3. Use the voice. Oh oh oh. The voice in this manuscript is so unique and poetic that it's hard not to keep going. It's Juliette's voice and it sings. You may like it, you may not, but you cannot deny the presence of it, nor the impact on the manuscript. 

These are all tips we can use to enhance our own manuscript. It's the combination that makes the manuscript. The world, the characters, and the plot all weave together in a dance to carry us through. It's a tricky balance, but when we get it right... WOW. 

The Isn't My Character THE BEST Syndrome

Melinda asked "
A character may be likeable to the author - and that's mostly because they're the one who created them - but how do you know you have a character that the reader will like just as much as you, the author?"

Good question! What immediately comes to mind is the Seinfeld episode with the ugly baby. Remember that? Anyhow, it's perfectly natural to favor your own characters, after all you've spent so much time and energy getting to know everything about them and watching them blossom out of the blank page. But how do you know they're really going to be that awesome to everyone else? 


Here's a checklist we can use to help judge whether your characters are developed and interesting/likable enough:

1. Beta Reader reaction. This comes up again and again for a reason. Test the characters with your betas. If they don't seem swept away, try to figure out why and go from there.
2. Does your character have both positive and negative qualities? Is your hero that you've fallen head over heels for perfect? Then make him flawed! Real people aren't perfect, and neither should your character be. I'm not just talking character arc here folks - I'm talking other attributes as well. 
3. Can you answer the question, what makes my character different from all the others? Can you answer it with specifics? Quirky habits are great, but they only go so far. It should reflect the distinct personality of your character. What makes Katniss so endearing? She isn't exactly easy to love. Is it her fierce love and determination to protect her sister, even at the cost of living with a mangy cat? Maybe that's part of it. 
4. Has the character surprised you with a reaction/action? I love it when my characters do this. Only writers really get it, but when the character has a life of his own, he will resist doing something if it isn't what he'd choose. Listen to that. If everything he does is predictable to you, it may be predictable to the reader.

I'm sure there are a million other tests. What are some ways you use to tell whether the character will appeal to others? Anything surprising up here? Discuss!!

Julie Musil on Unlikeable Characters

I've asked my good friend and fabulous writer, Julie Musil here today to answer one of your excellent questions! If you haven't visited Julie yet - WHAT IS GOING ON WITH YOU???? Um, I mean, you should. 

In the comments of Lisa's "How?" post, Meredith asked, "How do you skate that fine line between having a strong character with many, many flaws and having a character who's unlikeable?"

When Lisa asked me to tackle this subject, I wrote, "LOL! I'm the last person who should write this post, since I've done it all wrong!" But Lisa knew I'd struggled with this, and when we struggle, we're forced to study and learn. So I'll happily share my observations using some of my favorite examples.

Katniss Everdeen from "The Hunger Games"

(stubborn, rebellious, manipulative)

Katniss wasn't a whiner, even though her circumstances were dire. Early on we were shown her struggle to survive, and the importance of the people she loved. The scene where she volunteered to take her sister's place in the Games endeared readers to Katniss. We rooted for her as her life became a complicated, dangerous mess. When she used her supposed negative qualities against evil, they became her saving grace.

Mr. Darcy from "Pride and Prejudice"

(prideful, arrogant, selfish)

In this post, I broke down why Mr. Darcy was the ultimate likable unlikable character. He was misunderstood, and Austen did a wonderful job of showing this throughout the story. In the opening, he was horrible to Elizabeth Bennet. As the story unfolded, we witnessed kindness and vulnerability behind the veneer, and we loved him even more. Austen accomplished this through subtle "Save the Cat" moments.

Nick Levil from "Hate List"

(lonely, angry, bitter)

In this post I shared how impressed I was by how the author created a sympathetic villain in Nick. He killed fellow students. He was a monster. He should be hated. But the author dropped in snippets of backstory that allowed us to peek inside Nick's life, and experience how tortured he was. Readers understood Nick, even though he'd done a horrible thing.

Here's one of the main lessons I learned when studying negative traits and unlikable characters--readers need to know why the character is the way he is. Bullies don't just become bullies out of thin air. Something in their past took them down that road. Probably something painful, even humiliating. Once the reader understands this, there's a better chance they'll root for our characters, even if they're less than perfect.

We've all learned that protagonists can't be all good, and antagonists can't be all bad. Doing character worksheets, such as this one on Jody Hedlund's blog, can go a long way toward creating real people, warts and all.

Do you have tips to share about creating a flawed but likable character? Please share!

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Making Sure It Doesn't Feel Forced

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I had a critique partner tell me a while back that something I'd written felt like a writer's device. Something I'd clearly dropped in to force the story in a certain direction. She was right. I had to change that, because if there's one thing I DON'T want, it's for the reader to feel like there's a puppet master standing behind the scenes manipulating the story. 


Pay no attention to that author behind the curtain!


If I've done a good job I will remain invisible. I'll be a name on the cover page, but the characters will have a life of their own. My favorite critique comments are the ones where the crit partner is speaking directly to my character. I'll paraphrase my favorite: "No! No! No! No! Don't do it!" Then I know I've done my job. 


So how? How do I take it from forced to engrossed? The first step is identifying the "device". One way is to have critique partners look at it. I wouldn't have seen it on my own. Another is to put the book away for a while so you can see it with fresh eyes. You hear these things over and over because they are so important. And they work. 


The next step is to ask yourself what would make that action feel natural. Remember it's key to understand that your character is used to her life. That she knows the contents of her room for example, or that her brother is going to be annoying. It may be a surprise to the reader, but it isn't necessarily to your character. 


Also, remember there's no such thing as coincidence. If you're writing a mystery, the killer should be someone we know, but that doesn't mean the MC should realize that. It's too convenient. There has to be a reasonable explanation. 


Have you run into this problem? How did you handle it?

Can You Really Force a Character To Do What You Want?

I have a problem. Well a hypothetical one anyway. I get to know my characters. I get inside their heads. I can answer pretty much any question as that character. This is supposed to be good, right? *nods* BUT what if there's a problem with the character or the way his or her actions play out in the book? What if your critiquers say "No! I don't like her enough. She can't do that." or something of the like? 
And suppose I know her so well that I'm convinced it wouldn't be true to her character to do what's necessary to make her likable or do what should be done plot wise. 


What happens then? Do we squeeze a square peg in a round hole?
Here's the answer that seems obvious to me though I know it's hard to swallow:


CHANGE THE CHARACTER. Is it a fundamental change? Sounds like it. But you know what? Maybe they weren't the right character for the situation. Maybe you need someone else. 
I've said before that you need the absolute wrong character for the situation. The one who will have the most difficulty therefore creating the most tension and conflict. It sounds like in the above situation I haven't found that perfectly wrong person yet. 


And it may hurt. It's worse than killing your darling words. It's a person you've gotten to know. If it helps,  rename the character. Change the physical description. Anything to differentiate between the two. BUT do what's right for the book.


The character has to be true to herself, but if that truth doesn't work, change the truth.

Just a note - because of the holiday I will probably be late visiting you guys, but know that I WILL catch up and read every single one carefully. 
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Tragic Monsters

My favorite kind of monster is a tragic one. 


We already know about the villain who doesn't see himself as evil. This character feels justified in his actions, whether from a skewed sense of right and wrong or because he's been wronged by others. There are many wonderful examples, including Valentine, President Snow, and Lord Voldemort. "There is no good and evil. There is only power and those too weak to seek it." - Voldemort


But one of my favorite characters is the almost villain. The one who believes he is evil and fights his nature, sometimes successfully and sometimes not. Typically, this is a paranormal being (vampire, werewolf, etc.) Often the character manifests as a "bad boy", but these traits certainly aren't necessary. 


But why? Why am I such a sucker for the monster? Because if it's well written, I will root for the underdog. I will see his inner struggle and feel that much more horror when he gives in to it and that much more relief when he doesn't. 


So who are some of these characters? Patch from Hush Hush might have been one of the best as I really didn't know until the very end whether he was "good" or "bad". But I can tell you that I was invested and hoping the good would win out. Other good examples? Cole from Linger, Ridley from Beautiful Creatures, and (yeah you knew I'd bring him in here somewhere) Damon. 


Have you ever tried writing one of these sympathetic monsters? Was it difficult or easier than others? Who is your favorite? I'd love to know your thoughts. 
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Changing Your Character's Core

Remember my post a couple weeks back on finding your character's core? I want to expound on that a bit because one way to ensure a strong character arc is to chip away at that core belief and alter it over time until at the end of your story, it has changed in a fundamental way. 
It isn't easy to change someone's core belief, so it's going to take some work on your part. But that's what will make the shift in character so interesting and realistic. 
Let's use HUNGER GAMES as an example, since most of you have read it. Katniss' core belief at the beginning is something like: I'm the only one I can depend on. 
Katniss had only herself to care for her family when her father died. Without her they would have all died. She learned from her mother's desertion (emotional withdrawal) that she couldn't depend on others. As a consequence she didn't let others in easily. In fact until the Hunger Games, she only let in Gale and Prim. Throughout the games she assumes other's actions are the result of ulterior motives. That is until Rue. And eventually Peeta's motivations cannot be explained away. 
By the end of the book I'd say her core belief is more like: I can protect myself and make a difference for others. 
Have you identified your character's core? Do you know how it changes throughout your story? 
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Getting To the Core of the Character

When we write, we have to know our characters inside and out. We have to understand what makes them tick. We have to let them make choices based on who they are, and it is our challenge to make those decisions unexpected yet understandable. 


Inside every character is a core truth, something that defines their identity. Of course there's more to them than just that - there better be! But understanding that core truth can help guide us to knowing what that character would do in any given situation.


We know we have to come up with loglines for our books, one sentence that encapsulates the entire book. But can you do that for your characters?


Let's use an example, shall we? Oh I bet you know exactly where this is going... Damon! My favorite conflicted vampire. Remember the scene I made you watch in this post? If not go grab a refresher. The rest of us will wait and enjoy the eye candy.

If I had to guess Damon's core truth, it would be this: I am not human, and no matter how much I want to be, it can never happen.


Everything Damon does stems from this core belief, doesn't it? He embraces his dark side because he believes that's what he is. He acknowledges his human feelings for Elana, but agonizes over never being able to be what she needs. He insists his brother is pretending to be something he's not.


Now it's your turn! Try this with some of your characters and see if you can get to the basis of what makes them tick.
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Resist the Rescue!

We know how important it is to make our characters realistic. We spend a lot of time with them, get inside their heads, and well - love them. So it stands to reason we feel a little maternal (or paternal) toward them. Protective. We wouldn't hurt our children, so how can we possibly hurt our characters?


It's for their own good. You know it. Putting them through the absolute worst situations you can imagine not only makes for good story telling, it is often the catalyst for the change necessary for them to grow. 


Okay, you agree? Good, except that making mistakes isn't enough. Having bad things happen isn't enough. It's DEALING with it that makes the character and the story rich.  You might think you've put your MC in danger, tortured her, etc. When in truth you've sent in a "rescuer" to prevent her from actually suffering. Do any of these sound familiar?

• The love interest swoops in and saves the day. Enter Edward Cullen - maybe we should deem this the "Edward Interference"? My but the MC had a fright! It's a good thing our mysterious, brooding hero who may or may not be immortal was around to save the day. No! No! No! None of that please. What kind of character arc does your MC have if Mr. Macho is always preventing things form happening?
• It was all a misunderstanding. *shakes head* Life isn't fair. If the MC gets to let it roll off her back and skip through the sunshine and rose petals it won't make for a very good story. Trust me. No coincidences. No "but it really wasn't what she thought so no harm done" situations please!
• Something bad happens, but it's immediately remedied. Okay I hurt her - quick where's the bandage? Tension friends. Let the ramifications sink in. Let 'em wallow in it. Don't stick her in quicksand when there's a strong, handy branch waiting inches away. Where's the character building there? Where's the excitement for the reader? Draw it out. 

It all comes down to the same thing. LET THE MC SUFFER. 

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When Your Character Doesn't Act Like Herself

First of all - the winner of ORIGINAL SIN is Tanya Spencer! Congrats. 


Check out my guest post on Harry Potter for Writers!


Now, I have a question for you. Do you always behave the same? Are you the same person when you are home lounging around on your own as when you're out on a date or at a company party? Are you the same person around your friends on a Saturday night as with your kids? I doubt it. 


Neither is your MC.


Staying true to character is vital to a successful book. Sure your character can surprise you and the reader, but always within the confines of who they are. And they, like us, become different people based on who they are with. Do you have romance in your story? Well if you do, and most of us do to some level, you have to be aware that when your two characters collide they become something new. 


The wonderful Sarah Fine had a post on the space between characters. To me this is what that means. I studied social psych for a bit, and it is fascinating the way people will change depending on who they are with and what they are doing. 


So how do we USE this info in our writing?

1. Compare scenes. Take a scene where your MC is alone and compare it to one where she is with her love interest. What is her behavior like? Is it different? Have her goals changed at all? Her approach to those goals? 
2. Relate those differences to the overarching character arc. What changes in your MC by the end of the story? Are those qualities effected by her interaction with others? How so? Perhaps they prompt a positive change. OR perhaps they make it that much more difficult for your MC. Remember - you can't protect her, you have to let her suffer. 
3. It's a great way to show depth. You want to SHOW (not talk about) different sides to your character. Putting her in varied situations with different people or on her own can accomplish this. 

What are some other ways this can alter your writing? Good or bad?

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When a Supporting Character Tries To Take Over

Don't miss your chance to win a copy of ORIGINAL SIN.


So you have things planned out to the last detail - or if you're a pantser then you have an idea in your brain. It might be a bit fuzzy, but it's there. Either way you now know your MC and you're moving forward when all of a sudden one of your supporting characters decides to steal the show. Chances are this character is lots of fun with a dazzling personality. It's very tempting... but you have a story to tell and it's meant for your MC! 


What do you do? 


There are a couple of things that might be going on here. The first possibility is that your MC is falling flat and your subconscious is reaching for something easier. AKA the shiny, fun character that feels natural to write. If this is the case (and only you know if it is), you should stop and reassess your character building. Do whatever it is you need to do to get inside your MC's head. Try to find out what's preventing her from coming fully to life. 


BUT if the reason is that the supporting character is just one of those show-stealers, I recommend sitting down and having a heart-to-heart with him. What? Is my insanity showing again? Seriously! I've done this. And what I said was, "Listen, this is X's story, not yours, no matter how much I love you. So if you behave and anything ever comes of this, I will make you the star of the next book." 


In other words, give yourself permission to explore this character that's so grabbed you, but in such a way that it doesn't overshadow the wonderful work you're currently pursuing. 


Good. That sounds far more sane. Um, I mean reasonable. 
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