Tag Archives: characters

The Empty Room

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POST CARDS FROM THE MUSE

The Empty Room

I stand here in this room listening for any sounds at all.  Nothing.  Dead silence.  I do hear echoes from past rants and raves, parties, fun, news casts, but all is quiet now.

The room is dark, but a little light comes in from the hallway where there are thousands of lesser doors.  The bit of light sneaking in behind me shows confetti, glitter, tissues, and even candy lying on the floor as a reminder of the phantom cheers and cries of the characters that are normally here.  There is a table near the podium in the corner covered with sheets of paper that contain words—happy words and lonely words, funny words and mad words, velvet words and loud words.

Where are the characters that inhabit this room?  There was someone in here not long ago, but they are all gone now and the silence is deafening.

Congratulations. You have just received a post card from the muse.

Nandy Ekle

Try living with your character

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Try living with your character

When creating a character try this exercise.

As you build a character, or characters, you should be able to see them and answer questions about them. As you take action and make choices during the day, do the same with your character.

What do you eat for breakfast? Does your character eat breakfast? What foods do they like or dislike?

Do you wear a particular style of clothes? What does your character WEAR? Why do they like to wear them?

Do you go to the store? Where does your character shop and what do they buy?

What do you do for fun, sports or hobbies? What about your character?

What’s important is NOT what the character did, but what you learned about what you know about the character.

Rory C. Keel

The Job

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The Job

And as a writer, one of the things that I’ve always been interested in doing is actually invading your comfort space. Because that’s what we’re supposed to do. Get under your skin, and make you react.
Read more at http://www.brainyquote.com/quotes/authors/s/stephen_king.html#6gHi02fVOrIQUbmH.99

As writers we have several goals to accomplish when we write a story.

1.  We entertain. Well, of course. People who read fiction read to be entertained. A true reader will read your words and see the action and hear the dialog as if watching a movie. Therefore we write to keep their attention.

2.  We write to make a connection.  We reach out to our readers with our words and try to touch them. We want them to know who we are, what we think and why we think it. This is our voice and our shot at immortality.

3.  We write to teach a lesson or to make a statement. I used to get really upset in high school because the teacher constantly reminded us that every story has something to say. I really wanted a story to just be what it is. But as a writer I have learned that there needs to be a reason, or a theme, that drives the story through its course.

4.  And of course, we write because we have the need to create. There are characters inside our heads that scream to be heard. There are worlds that need to be described.

So we write and we tell our stories to whoever will read them. And even if no one reads them, we still write.

Congratulations. You have just received a post card from the muse.

Nandy Ekle

Where do I start?

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 Where do I start?

This is a common question by those who want to write a book. With all the many instructions and how-to’s out there, let me suggest three simple Ideas.

Develop a THEME for your book.

First, develop a theme for your story. Theme is different than subject in that it expresses a purpose or intent of the subject. For example, your subject might be a run-away girl, but your theme might be, “There’s no place like home.” The theme is what ties your plot and characters together.

Develop the PLOT

Develop the Plot or the action of your story. The plot is not equivalent to conflict, but is a series of dilemmas or encounters, which may include conflict, that helps your main character to evolve through their needs and motivations.

Create CHARACTERS

These are the people who reveal your theme. They connect with the reader by their traits and inner qualities described by the writer in a believable way. By matching their characteristics with the theme and running them through the plot, they must change in some recognizable way.

These three intertwined together will form a satisfying story. So let’s get started!

Rory C. Keel

Three Lawyers and a Judge

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Outtakes 26

 Three Lawyers and a Judge

I just spent four days on jury duty. Now don’t misunderstand me. I don’t enjoy jury duty. I have issues with the hurry-up-and-wait situations. I read James Patterson’s 10TH ANNIVERSARY on the first day. That gives you an idea how much idle time we had. I also hate being away from the office. It just takes so long to catch up. That said we should be thankful for our jury system. Not many countries allow trial by jury.  Most defendants or respondents will never know what it’s like to be judged by their peers instead of magistrates. As inconvenient as jury duty is, it is the best system around. It also provides some spectacular inspiration for a novel.

Take this case as an example. We were not hearing a criminal case. Ours was a civil matter, and the rules were different. The jury was comprised of 6 jurors and an alternate, all novices except me. In fact, my experience as a foreperson is what landed me on the panel. Instead of a reasonable doubt, we judged on the preponderance of the evidence. We did not determine guilt or innocence, but answered yes or no to the questions on the charge. A yes response was in favor of the State of Texas; a no vote favored the respondent.

While there were some characters on the jury, the real players were the judge and the three attorneys. The attorney for the state was knowledgeable but arrogant. He felt we did not need medical reports and tons of pictures; we should believe the witnesses because they were professionals from law enforcement, vets, and accomplished dog trainers. Never mind the fact the humane society left the property with all the pictures and the sheriff hadn’t seen any of them until closer to trial. We just had to believe the state’s case.

In contrast, the respondents’ attorneys offered expert testimony, but they had photos released on the internet, medical records, invoices, and pictures of all those lovely registered dogs. They were more low keyed, soft spoken and respectful. They appealed to our common sense and logic over emotions. It was only when the State’s attorney tried to introduce a statement from the respondent that I saw the fire from the lead counsel for the respondents. He and his attractive co-counsel demanded, “May we approach, Your Honor?” They covered the distance between the counsels’ tables and the bench quickly. The word mistrial was whispered before the judge asked the jurors to take a break.

Finally, the judge acted as moderator between the opposing sides. He smiled a lot,  spoke softly, and continually thanked the jurors. He didn’t take sides, but effectively ruled on the objections,  never favoring one side or the other. His judgments were based on the law. I respected him.

Now, let’s put the characters together in a totally different situation. In place of a quiet civil action we are in the middle of a high profile multi-count criminal trial. The defendant is the son of a mob boss. The state’s attorneys maintain their soft-spoken demeanor. The defense attorney hammers away at the state’s DNA expert. And then…

Now you finish it.

Cait Collins

The Brick Wall

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The Brick Wall

In writing my story, I have smacked into a brick wall. I never even saw it. I was just bopping along, taking dictation from the characters who talked and acted while I wrote it all down. I was in “the zone” and everything moved smoothly. Then, POW! The wall appeared and knocked me so hard the characters temporarily lost their voices.

As I sat on the ground and looked up at the brick wall that had suddenly grown in front of me, I looked back at the steps that brought me here. Good intro/prologue, consecutive chapters that built on each other, plenty of twists and turns, and enough hints of the future to keep it interesting. And then, in the middle of an intense scene, nothingness.

Now, it’s not as if the whole thing disappeared from behind the wall. I still hear voices and I know what should happen next. So I mentally changed my visual of the problem from a brick wall to a bridge over a river, only the center of the bridge is broken. Now I can see the characters on the other side motioning for me to join them, but there’s no way to get past the gaping hole.

I take words out of my tool kit and try to fill in the missing part of the road, but the words are hollow and unstable. Still, the characters urge me to keep trying.

As a writer, I cannot leave them alone on the other side of the bridge without me for long. As a writer I will have to get to the other side, even if I have to jump over the broken part of the bridge. And, as a writer, I know I can’t wait forever to do it. So I put my hands on the keyboard—pen to the paper—and just write words.

Congratulations. You have received a post card from the muse.

Nandy Ekle

A NEW DIMENSION

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A NEW DIMENSION

After looking back at some of my writing, I noticed that my characters were flat, and not because they’re typed words on a screen. No, they  have no depth, no dimension.

As I start the new year of writing, I will create what I will call character interviews. In Gail Carson Levine’s book, WRITING MAGIC, she suggests making a character questionnaire.

Make a list of questions and fill in the answers such as: name or nickname, what type of being (human, alien etc…), age, sex, physical appearance and characteristics, family members and friends, pets, hobbies?

Then ask deeper questions like: What are my character’s talents and abilities? What are their faults, fears and good qualities?

If you have flat characters, try interviewing your character and give them a new dimension!

Rory C. Keel

Home Stretch

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Outtakes 22

Home Stretch

As a child, I could not wait for the big experiences. Christmas seemed so far away. I thought I’d never get my driver’s license. Would I ever reach sixteen and be allowed to wear makeup and get to date? Would I ever graduate high school? Marriage was a dream. Like most young people, patience was not a sterling quality. My mother and father warned me to slow down and enjoy the stages of life. Didn’t make sense at the time, but now I wish I had listened. As I get older, life seems to move at an Indy 500 pace. I feel I have missed so much because I was impatient.

It can be that way when I write. I’m so anxious to finish one project and start another that I miss out on the pleasure of creating something special. As I prepare the final pages of HOW DO YOU LIKE ME NOW for my critique group to review, I realize I’ve sped through Kate and Dalton’s journey. I’ve overlooked some of their special moments and maybe I’ve glossed over the intensity of their struggles; downplayed their doubts; left unsaid their most intimate thoughts. That is why the final editing process is so important to me.

At this stage, I pull out the critiques, read the notes I’ve made and the comments my friends have written. I weigh the ideas, incorporate those I like, discard the ones I don’t need, and even flag some for further consideration. I carefully rework scenes and dialogue to improve the story I already love. I do not rush through this process. Instead, I invest time in conversing with my characters. At some point, I will probably ask King Phillips if he has a redeeming quality. And, I will listen for his response. I will read aloud to be sure the dialogue flows. When I complete the final rewrite, I will do one more proof-read and put the novel to bed. I’ll let it cook for a few days and then will send the first thirty pages to a potential agent.

I’ve been asked how I know it’s finished. I don’t really know how to answer that. There’s a line between working toward perfection and over-working the novel. I’ve known authors who worry about dotting every “I” and crossing every “T”, they destroy the soul of the work. At some point, my internal editor will say, “Let go,” and then I will say it’s done. Will I ever be one hundred percent satisfied with writing? I doubt it, but I will be happy with my creation.

Cait Collins

Ethan

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Ethan

 Have you ever wondered what kids are thinking? Why they do what they do? I have because I’m blessed with many nieces and nephews who give me grins and giggles. Take my two-year-old nephew, Ethan, for example. From the time he was able to hold on to a quarter, my sister and brother-in-law taught Ethan the importance of giving to God. Every Sunday, Ethan would clutch his quarter and wait for the collection plate to be passed. One Sunday morning, he saw the men coming down the aisle with the collection plates. He jumped out of Paw-Paw’s lap and ran toward the ushers. The closest man bent down to allow Ethan to drop his money into the plate. He turned to find his grandfather coming to get him. Beaming, the little cherub raised his arms to be picked up. Aha. I knew what was going on in Ethan’s mind. God loves a cheerful giver.

I teach the little ones in Sunday School. My kids are between four months and two years in age. (Yes, you can teach these children.) One of our main themes is God loves us and gives us good things. Ethan was one of my regular students.  One Sunday morning, the collection plate came to Ethan. Not only did he put his money in the plate, he also tossed in his ratty rubber alligator. A flush crept up Dean’s neck as he grabbed the toy. I leaned forward, “How sweet,” I whispered, “Ethan gave God something he loves.”

Of course I can’t read minds, but the explanations were obvious to me. The reality is Ethan had a motive, a reason for his actions. And so must our characters have motives for the things they do. In my current novel HOW DO YOU LIKE ME NOW, Kate Walker returns to her home town in response to a phone call from the town doctor. Her grandmother had a heart attack and is not expected to live. At this point, her sole motivation is to see her grandmother and take care of her. But things change. After Miss Lucille’s death, past events and current events combine creating a new purpose for Kate. She wants justice for herself, her grandmother, and her friend Travis.

The antagonist, King Phillips, is a bully, power hungry, and self-important. He has one ambition; to own the Walker family property. He threatened and attempted to intimidate Miss Lucille into selling and now he’s after Kate. His motive seems straightforward, but is it? Is there some other reason King demands Kate sell out to him?

The characters’ motives create conflict. In this case King uses every means, every threat to obtain the land. Kate is equally determined to honor her grandmother’s request not to sell out to Phillips. Their battle comes to a head with surprising revelations. Throughout the story, their actions must be in keeping with the motives. For example, if Kate says she forgives King, it would not be in keeping with her desire for justice. Nor would King be in character if he took pity on Miss Lucille’s granddaughter.  They must be consistent as they pursue their goals.

In order to keep the characters’ actions in keeping with their motives, you have to know who they are. The past, present, and future aspirations should be part of the character sketches you create. I’m not one for long, detailed character sketches, but I believe in a bit of back story. You need to know when the character was born, age at the time of major events in their life, socio-economic status, and where you plan to take him. You also need to hint of the setting. Does he live in a small town or a major city? Can you describe where he lives? What does he do for a living? While I might not write it all down, the information is in my head. By knowing your characters and their desires and motivation, you can lead them from hook to resolution and take your readers along for the ride.

Cait Collins

DO THE TWIST

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Do the Twist

Once upon a time a handsome prince came to a faraway castle and met a beautiful princess. They fell in love instantly. Her father, the king, saw immediately how much the prince and princess loved each other and arranged for the two to marry at once. And they lived happily ever after.

Ho hum. We have to find some way to make this story more interesting.  Luckily I took a writing class about a year ago and I know exactly what this story needs. This drab little tale must have some twists and turns.

Every plot must have a character with a goal and lots of problems ranging from very serious to very minor. And there is a very nifty way to create these obstacles.

I learned in the writing class that if you write down everything you assume is true about a character and/or a situation, then change one of those things, you have a nice little twist. So in the story above, what do we assume?

Well, we assume the prince and princess are young unmarried lovers. We assume they are sweet and charming. We assume their courtship is smooth and romantic. We assume they are earthlings and that they are human beings. And we assume the time is long ago.

Which one of those assumptions would you change, and how does it affect the story?

Congratulations.  You have just received a post card from the muse.
Nandy Ekle